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Vol. I, No. 1. 

March-April 1926 


v^^ , \r Combining 

Exceptional Photoplays 

Photoplay Guide 

Film Progress 

Formerly published by the 

National Committee for 
Better Films 

and the 

National Board of 


Published bythe 

20 cents a copy 

Established by The People's Institute in 1909 
70 Fifth Avenue, New York City 

$2.00 a year 

Contents March -April, 1926 

Editorial announcement 3 

The Library and the Motion Picture 

Louise C'/ii>i'tlly 4-6 

The School, the University and tiie Motion 

Picture Irviny N. Cniintrynian 7-8 

Tile Church and the Motion Picture 

Gi'ort/e Rcitl Aniimvs 9-lU 

Exceptional Photoplays 

The Black Pirate 16 

The Exquisite Sinner 12 

A Kiss for Cinderella 1.^ 

La Boheme 14 

Lady Windermere's Eaii 11 

Mare Nostrum . .^ 15 

Oh! wimT Nurse! 17 

The Sea Beast 14 

Selected Pictures Guide 

The Barrier 18 

Behind the Front 18 

Beverly of Graustark 18 

The Blackbird 18 

The Blind Goddess 18 

Bride of the Storm . ^ 18 

Chip of the Flying U 18 

Dancing Mothers 18 

The Danger Girl 18 

Desert Gold 19 

~The Devil Horse 19 

The Devil's Circus ... 19 

The Dixie Merchant 19 

'i"he Earth W'oinan 19 

Fifth Avenue 19 

The Fighting Edge 19 

The Flaming Frontier 19 

The First Year 19 

For Heaven's Sake 19 

The Great Love 20 

Cot\ri;ihl 1920, Tlic Xuliciinil In 


His Jazz Bride 20 

Ibanez's Torrent 20 

The Johnstown Flood 20 

Just Suppose 20 

The King of the Turf 20 

Ladies of Leisure 20 

The Midnight Sun 20 

Mike 20 

The .Million Dollar Handicap 20 

Miss Brewster's Millions 21 

The Mystery Club . . ., 21 

The New Klondike 21 

The Night Cry 21 

The Non-Stop Flight 21 

I he Phantom of the Forest 21 

Queen o' Diamonds 21 

Rainbow Riley 21 

The Reckless Lady 21 

J^edJDicg..^^ 21 

Red Hot Leather 22 

The Road to Glory 22 

Rocking Moon 22 

The Runaway 22 

Sc.i 11(11 SOS 22 

The Seventh Bandit 22 

The Shadow of the Law 22 

The Silken Lady 22 

Sir Lumberjack 22 

A Social Celebrity 22 

The Soldier Man 22 

The Song and Dance Man 23 

Soul Mates 23 

Too Much IVIoney 23 

Tramp, Tr.imp, Tramp 23 

I v\'o Can Play 23 

Under Western Skies 23 

The Untamed Lady 23 

Watch \'our Wife 23 

Whispering Smith 23 

White Mice 23 

The Yankee Senor , . . 23 

"! A'rriVti.' of Motion I'icliircs 

RiTii Rich, Kilitor 
Ass(n.i.itc Kditors 

Al.FRl-l) H. KlTTM-R. 

Wii.TON A. Harrett, 
Exceptional Photoplays 

l-RANtis C I5\rri:tt. 


Selected I'ilnis Department 

National Board oi 
Review Magazine 

I'lililUlied niontlilv I'y the 

National Board of Review of Motion Pictures 

l'"^t.ihlislii.l hy TIk- I'.-.i|.U-s lii-.tiliilf 111 l!Hi:i, 

70 I'itth Avenue, New York City. 


RiA. W'll.l.lAM H. ToUI'.K. 
C h.'iirni.'in 

1)](. .M^RON T. Sci'DDIiR, 

W'li.TON A. |{akri:tt. 
I'^xecutive Secretarv 

Editorial Announcement 

HE National Board ot Review of 
Motion Pictures and the Na- 
tional Committee tor Better 
lilms, now the Better Films Na- 
tional Council and Department 
of the National Board, are combining their 
publications, Exceptional Photoplays, 
PuoTcjPLAV GuiDK and Film Progress and 
will issue the NATIONAL Board of Review 
Magazine monthly. 

The National Board of Review Mag- 
azine is a unique publication, in a field which 
has not yet been touched hy other magazines. 
There are trade publications for the exhibi- 
tors; there are so-called "fan" magazines, 
but this magazine is not, nor is it intended to 
be, a competitor of these publications. 

Conservati\ely speaking, there are ten 
million people seeing motion pictures in this 
country every day. There is not at present 
a single publication equipped to furnish this 
vast audience with the accurate information 
procured before the pictures are released 
which is compiled by the National Board of 
Review from the reports of its review com- 
mittees which are composed of trained, vol- 
unteer, public spirited citizens. In addition 
to this informational service including para- 
graphs on the better pictures with their audi- 
ence suitability, we will publish features of 
general interest to the public. 

In this March-April number, the initial 
copy of our new publication, we are present- 
ing in the Exceptional Photoplays Depart- 

ment and the Ciuide to the Selccteil Pictures 
the reviews formerly publisheil in "Excep- 
tional Photoplays Bulletin" and as the "Par- 
agraphs on the Better Pictures" in Film 
Progress, lixceptional photoplays reviewed 
are all those voted exceptional since the pub- 
lication of the last bulletin in December. 
The Guide to the Selected Pictures carries 
paragraphs on the pictures selecteil since the 
last issue of Film Progress in January. 

Beginning in May, the National Board 
OF Review Magazine will be published the 
first week in each month and will contain the 
informational service on all the motion pic- 
tures selected in the preceding calendar 

Owing to the lapse in publication during 
the past three months, and the accumulation 
of selected pictures, the department devoted 
to the activities of Better Films Committees, 
formerly carried in Film Progress, has been 
crowded out of this issue, but it will be re- 
sumed in May. We are planning a depart- 
ment devoted to pictures for religious use, 
und pictures suitable for special occasions 
will be featured from month to month as a 
guide to national organizations seeking pic- 
tures suitable for their special uses. 

We hope to broailcn the scope of this 
magazine so that it will not only serve those 
already working iti affiliation with the Na- 
tional Board, but will exteiul its usefulness 
to the general public seeking accurate in- 
lormation regarding motion pictures. 

The Library and the Motion Picture 


Miss Connolly, who spoke on this subject at the 
National Better Films Conference, is Educational 
Expert, Newark, New Jersey, Free Public Library 
and Museum. She has been identified with the 
National Committee for Better Films for a number 
of years and is serving on its executive board. — 
Editor's Note. 

ALL films whose objects are Service, Glory and 
Truth, rather than filthy lucre should be dis- 
tributed by the library. ^ 

Librarians only are fit for this service. A librarian 
is a person who went into the business because she 
was interested in literature — had a taste for reading. 
After she got in she never again, except during, a spell 
of illness, had a chance to read a whole book. But 
her respect for the book has grown with her absten- 
' A library is a place into which people go to wor- 
ship WORDS. They sit on uncomfortable chairs, in 
a bad light, with the thermometer at 87 degrees and 
a cool draft on the back of the neck, with a person 
directly opposite mouthing strange sounds because he 
was taught to read by the wrong method and has to 
be guttural. To the "free" library one comes, cash 
in hand to pay one's fine. ; One draws a book or mag- 
azine and one plunges into a labyrinth of words. 

Now this business of devoting yourself to words, 
grammatical constructions, and rhetorical regulations 
is very interesting. I don't know what percentage 
of the thoughts that are expressed, or the pictures 
described, or even the events told in books ever get 
into the noddles of the people who read the words, 
because culture has become so largely a matter of 
words that people don't realize that there is nothing 
behind them. 

If you want to know what is going on, pick a seat 
at a third rate theatre and let the boys behind you 
climb up your back as you look at the screen. You 
will get information. The other day I went to the 
motion pictures and a boy behind me said, "He's go- 
ing to marry her." 

The lad with him said, "Nope, nope, you're wrong. 
She ain't going to marry him. She ain't real." 

"She ain't real?" 

"Nope, she ain't real. He dreamed her." 

"Oh, I thought she was real. I thought he was 
going to marry her. How do you know she ain't 

"Oh, it said it on the screen, plain as you want to 
know. It said, 'Is this the woman of my dreams?' '" 



Now I call your attention to the fact that civiliza- 
tion can be saved by the motion picture and by visual 
education of all sorts. I brought a sample here to- 
day. Take any young woman who has graduated 
from college and hand her out a really good piece 
of modern poetry and ask her to read aloud, oh, a 
nice descriptive passage, and hear her mouth the 
words, and pause at the commas, and drop her voice 
at the periods, and lift it at the question marks, and 
you will be impressed by her erudition. Ask her what 
it is all about and she will be utterly unable to tell 
you because she doesn't know the content of the vo- 
cabulary, and we have got to a pass where nothing 
but the motion picture and visual education is going 
to save the race from that abyss. Absolutely litera- 
ture has become a thing of wind! 

I heard lately a college graduate reading descrip- 
tive poetry aloud to her mother. She mispronounced 
seven words. The mother never flinched. "VVha: 
wonderful power he has!" quoth she. "Hasn't he?" 
said the daughter. I was brutal. I asked, "Could 
you tell me what these words mean?" and I ladled 
out a list culled from the poem. Neither woman 
knew any of them, though the daughter surmissed 
that a croft was "a hay mow, or maybe a barn." Why 
we have got to such a pass of sophistication that a 
full grown friend of mine suggests, "perhaps the 
large turnip took all the strength of the vine !" 

The world is full of walking vocabularies. The 
motion picture has come to save us: to turn vague- 
ness into lucidity: in fact, to give us visual instruction. 

Now the librarian means well. She became a li- 
brarian for the purpose of feeding hearts and minds 
and souls with truth. She doesn't realize that they 
are getting only wind. Once I fed a canary from his 
seed box. He died. And I discovered that he had 
been getting only husks. A little mouse had eaten all 
the kernels from his seed. That's the way with our 
books. The little mouse of inexperience has eaten 
the content from our vocabulary. We are dying of 

As soon as librarians know this they will be glad 
to distribute the antidote — whether photograph, etch- 
ing, stereograph, lantern slide, film, or even three- 
dimensional objects, with names attached. 

The librarian has the technique. She can file, cat- 
alog, classify, shelve, charge, discharge, notify, and 
do diverse other necessary and unpleasant duties with 
efficiency and dispatch, and with a benevolent manner. 

The trained librarian can broaden and broaden in 
the material she handles, almost unconscious of the 
transitions through which she passes. You may find 
them all over the country handling indiscriminately, 

Au 30 '40 • 

Alarch-April, Xineteeii Ticctily-six 

books, magazines, catalogs, leaflets, government doc- 
uments, pictures, stereoscopic sets, victrola records, 
lantern slides, physiographic models, physiologic 
charts, statuettes, costumed dolls, stuffed birds, mani- 
kins, mineralogic specimens, herbariums — what you 
will. Why not films? 

I belong to two institutions — a library and a mu-- 
seum, and T assure you that a librarian can becrtme a 
museum assistant overnight. When I recommend 
you to the use of print, I charge the library for my 
time; to objects, I charge the museum: to both, I split 
the bill. Oh, the library can do it. 

Moreo\er, tlie librarian can be trusted to do it. 
There is sometiiing about motion pictures tliat re- 
minds one of booze. Whoever touches either seems 
at once to be under suspicion. There are people who, 
if you say you think the motion picture does more 
good than harm, ask who is paying you. I've had 
experience of this sort. "Our children are our pre- 
cious jewels. Appoint a censor. What? You don't 
approve of censorship? Oh, Bribery! Oh, Corrup- 
tion !" But nobody will suspect the librarian. There 
are stupid librarians, cross librarians, lazy librarians, 
ignorant librarians, but there is not a person in the 
United States who would accuse any librarian of ac- 
cepting a bribe to pass or push this or that bad mo- 
tion picture. 

Yes, there are whole classes of people like that. 
They have arrived by the upper road of reason at the 
point which all the ants have reached by the lower 
road of instinct. Here are two ants. One is full: 
the other is empty. Says the empty ant to the full 
ant, "Say! I am hungry!" Says the full ant to the 
empty ant, "Pray help yourself!" and he regurgitates 
for the delectation of his hungry brother, whom per- 
chance, he has never met before. 

Will you please imagine that happening on Fifth 
Avenue I 

NOW that is the intent of God so far as I know 
along the line of development of the civilization 
of the ant and the reason it can be done is that the ant 
has the instinct for labor and the instinct for giving 
nicely balanced through all the generations. 

As far as we are concerned, we have the instinct 
to grab more developed than the instinct to give, 
through the generations, so we won't get at it that 
way, but what are the ministers doing but preaching 
with all their power to get us to do it another way 
and a better way, consciously choosing. 

I call your attention to the fact that throughout 
the ages, in all climes and countries, there have been 
people like the ant, who belonging to the order of 
Melchisedek, prove it in all sorts of ways. In the 
East, in the Orient, they go up into the caverns and 

starve themselves to death, and live ni deathly sqiia'loir 
proving to all mankintl that they rekiiicr the riches 
of the earth. They wish only to imitate" Buddha. He 
did that. Then there are some who become social 
workers. They wear good clothes and hold their 
heads up and don't mention it if they need a car, but 
they are purposely poor. ,Yes, we have sucli a tribe, 
and librarians all belong to it, 

T IBRARIANS allbelong to this order. None of 
■1— ' them are after the shekels; none of them arc try- 
ing to become rich. They are all above suspicion and 
so, if you can get a bunch of motion picture producers 
to get propaganda paid for — I suppose it has got to 
be paid for — I can work for next to nothing, but I 
must be fed — a propaganda driving on the librarians 
to make them see they have as much business to dis- 
tribute the motion picture film as to distribute the 
volume, then they will do the work righteously. The 
money, of course, at present belongs to the motion 
picture producers. 

So now, as to what they shall distribute. I am 
"agin" censorship. Librarians do censor in a way; 
that is, they say, "I guess we don't want to buy any 
more of that. I have heard bad reports from sev- 
eral quarters, and there doesn't seem to be a great 
call for it. We have only so much money, let's put 
it into something better." That doesn't say that 
folks can't go to some of our most distinguished sec- 
ond-hand book stores and stuff their pockets with 
yellow covers, put their feet up, light their pipes, 
and recreate off of bad literature. They are per- 
fectly free to do so, and perhaps it is beneficial after 
the strain of a business day. 

We are not censors; we only distribute things free 
and send printed notices when they are due. There 
would be no trouble. The librarians would censor 
in the same mild, gentle, unlegal' way that they, 
thank God, censor their books. You couldn't send 
out a Methodist film or a Catholic film unless it rep- 
resented a very high degree of art — or a Unitarian 
film, so labeled, because you would get yourself into 
hot water. The major part of the churches will only 
rouse up and talk about their individual tenets on 
occasion. Most of the time they are trying to "save 

So, you would not have any trouble witli the reli- 
gious film. A reasonable number of them, if you 
could ever get them produced, would be distributed 
by the libraries. 

There has been a committee for several years 
among the librarians in regard to the business of 
librarians distributing pictures. It has been a mori- 
bund committee. I was a member of it and I spent 
a good deal of finesse when the time came to send 
me two or three thousand miles across the country 

National Board of Review Magazine 

to •a'comritirtee'lneetiiig,' So fliat they would liave a 
reason fo/'-sending me, and Mr. Dana, the librarian, 
decided tha't'l' could stop at tliis library and that mu- 
seum, and gather information on this, that, and the 
other point useful for the library. And then they 
didn't have any meeting. The Chairman was busy 
in his own particular library. .So now we iiave an- 
Cither Chairman and I have heard nothing from him. 
The Committee is moribund because the libraries are 
not stirred up, and this is some one's business, and the 
person whose business this happens to be is just en- 
tering upon the scene in our civilization. He also is 
an ant. 

There is such a thing among the ants as a capital- 
ist. I don't know whether he induces the worker 
ants to give the honey or whether they all run to 
him. Both things happen among us. All honey 
not necessary for the sustenance, of the accumulator, 
is taken to him and given to him. He is in point of 
fact, a banker, and he gets fatter and fatter and fat- 
ter. His stomach is immense and he knows his duty. 
Instinct has taught him his duty, and the consequence 
h that he just hangs. That is all. He doesn't try 
to enjoy his riches. He has too much. He hangs, 
replete and ready to disgorge. Anyone in the tribe 
can come at any minute when empty and get some. 
He is a storehouse. 

Now, that is happening today. The rich man 
who has actively accumulated and succeeded absorbs. 
It is his gift. There are hordes of us who run to 
such people and hand over our savings. As soon as 
such a man gets really plethoric with riches, he looks 
around for a way to disgorge. He is often blessed 
of God in his method of disgorging, founding reli- 
gious foundations, universities, laboratories, health 
institutions. He Is founding everything under the 
canopy of heaven that can bless his fellow man. 

/^^ ET one of them if you please, to found a propa- 
^^ ganda to librarians as to what they should do 
and the motion picture producers as to what they 
should provide, and to give prizes to tlie artists, both 
literary and artistic, sculptural, what you will, for 
what they shall create. Then this movement will get 
going and I wish I were going to be alive to see it. 
What hurts most about growing old is that I am not 
going to see the visions in reality that 1 see right 
before me. But I will warrant you that there are 
people here who will look back liere with amusement 
that we hesitated to feel that the time was ripe for 
the propagation of God's truth in this good way. 

The librarian knows, we agree, iiow to distribute. 
The librarian knows also how to index. You know, 
my friends, there is such a thing as a rich hoard of 
wonderful pictures containing things of vital inter- 
est to the future which is being tossed away and 

thrown to the scrap heap every day in this country. 
When you consider how they go out with big ex- 
peditions into Mongolia and dig and dig, and into 
Egypt and work and slave to get some symptom of 
a civilization that once was, the scenes of labor, the 
time, and the ingenuity with which they make theo- 
ries as to what these things mean, and you realize 
that every day the films are turning out data that 
would be inestimable for the future, and it is not be- 
ing classified and indexed and saved, it is enough to 
drive one crazy. Down in Washington it is their 
business at the Congressional Library to have a corps 
of clerks, in the first place seeing that the negative 
is a good one and will last if you seal it and put it 
away — and in the second place thoroughly indexing 

ONCE there was an Italian woman who brought a 
baby in her arms and three children sewed up for 
the winter, and took her seat at a movie. She saw 
a silly little picture about some girls who packed 
eggs. One painted a face on an egg, and seven years 
afterward the egg was brought on the table in a good 
home, where the mother had her little daughter 
and son, all so clean and neat. They opened their 
beds and aired their rooms, plaited their hair, and 
washed their faces, and their mother tied their 
aprons and straightened them up and they came to 
the breakfast table. The table was properly set and 
the father asked grace, and they started their meal. 
Then the mother came across the egg and said, "Who 
painted that face there? Myself seven years ago." 
Father grabbed the egg and put a handkerchief to 
his nose, and carried the egg out and dropped it down 
n cavern. Just a silly little play! 

That woman lived in a neighborhood on the East 
Side. She never saw an American home. She 
knew nothing about ventilation or a proper table. 
Why you would have a welfare society trying to teach 
that woman and her neighbor for years what she 
learned in that picture about our civilization. She 
went home. "I've a good mind to undo that dress 
and wash that child," said she. 

Those things are obtainable if you know where to 
find them and you know where to find them if they 
are indexed. No one knows how to do that but a 
librarian. So there are two jobs for the librarian 
of the country — distribute and index. 

And lastly, the motion picture does one thing that 
we need in our civilization for our progress in the 
future, and that is it relates cause and effect in human 
conduct. Nobody knows about what happened when 
he was ten years old, what happened at fifteen, eight- 
een, thirty, that those occurrences are related at all. 
fhey are all lost in a melee, but at the motion pic- 

{ContiniiL'd on page 8) 

The School — The University and 
the Motion Picture 


Professor Countryman, zvlio delivered this address 
before the National Better Films Conference held in 
AVtu York, is associated zvith the School of Educa- 
tion, of Yale University. The Chronicles of America 
Photoplays are being produced by Yale University. — 
Editor's Notk. 

IN the case of concrete things which we perceive 
around us we are conscious o( great evolutionary 
changes. A little over a century ago transporta- 
tion and communication in the United States were 
carried on with greater difficulty and less speed than 
in the days of the Roman Empire with its magnificent 
system of roads. There is scarcely need of mention- 
ing the advent of the canal, the growth of steam and 
electric railroads, the change from sailing vessels to 
steamships, the development of the aeroplane, and 
the transition from couriers and crude signalling to 
the telegraph, telephone and wireless. These changes 
are most patent and self evident. 

Changes in education tend to be made more con- 
servatively and iience are less patent and self-evident 
to the average mind. Nevertheless just as striking 
and astonishing clianges take place. The schools of 
colonial days differed in a most marked manner from 
the schools of the present in calibre of teacher, equip- 
ment, curriculum and type of school. In Maryland 
during colonial days many teachers were simply in- 
dentured servants. In a colonial paper in that colony 
there appeared the following advertisement offering 
a liberal reward for the return to his master of a run- 
away "schoolmaster, of a pale complexion, with short 
hair. He has the itch very bad, and sore legs" and 
again "he is a greater taker of snuff and very apt to 
get drunk." I do not need to say that teachers of 
the present are decidedly different. 

The simple education of colonial days was per- 
haps reasonably adequate for the comparatively 
simple life of the times. But our civilization is very 
complicated. Hence to satisfy the complex needs of 
modern civilization, the curriculum must be made 
much richer and broader in its scope. The rapidly 
increasing use of the motion picture in education is 
only one, yet an extremely significant part of this 
much enriched curriculum. 

Motion picture apparatus is an essential and neces- 
sary part of all modern school equipment. The use 
of motion pictures as an aid in teaching science, his- 
tory, English, thrift, fire-prevention, safety-first and 
other subjects is increasing tremendously. Not only 

does the student thus obtain a breadth and scope of 
knowledge not otherwise easily and economically im- 
parted, but he also acquires a ready facility in inter- 
preting a motion picture in the same manner that he 
secures the ability to read appreciatively by reading. 

A student does not naturally have an appreciation 
of Shakespeare, Milton, Macaulay, Carlyle, Emerson 
or Longfellow. Such a taste is cultivated and ac- 
quired by reading with appreciation the writings of 
sucii men. A savage .African has neither a concep- 
tion of nor a desire for the manners of the drawing 
room because such manners are beyond the ken of his 
past and present environment. The child, since his 
experience in life is so small, cannot have the same 
appreciation of values which the adult has acquired, 
for environment and training have broadened the lat- 
ter's mental vision. 

Universities, colleges and normal schools provide 
educational leaders and policies. From such institu- 
tions continually emanate new ideas which grow out 
of empirical study and school room practice. 

CONSEQUENTLY it is but natural that universi- 
ties should establish departments of visual edu- 
cation. These departments, by conducting extensive 
research in the use of visual aids for teaching to de- 
termine how to use motion pictures and other visual 
helps in a scientifically correct pedagogical manner, 
are making a contribution to the cause of education. 

The number of universities which offer courses in 
visual education is constantly Increasing. Such 
courses stress the study of the historical development 
of the employment of all kinds of visual aids and of 
the psychological principles underlying their use; class 
room and auditorium methods of using such material; 
tile care and use of the tools of visual aids; the admin- 
istration and supervision of this type of teaching and 
the physical distribution of such aids. In fact evi- 
dence has already begun to appear that in special 
fields such as history, geography, biology, forestry, 
and engineering, teacher training includes the use of 
visual instruction. 

Other growing functions of the university are the 
production of educational motion pictures and the 
maintenance of film and slide distributing centers. 
Since universities exist not for commercial profit but 
for public service, other institutions and organiza- 
tions thus can secure at a nominal cost the use of 
such material. 

*l « « ■■* 

National Board of Review Magazine 

The unLvepi^y is really the logical type of institu- 
tion to play, a'ieading part in the development of the 
film as an educational aid. Such an institution is 
permanent; it is independent and unbiased in thought; 
it has funds; and it has already developed the tech- 
nique of research in related fields. 

Hence a university is in a unique position to play 
a leading part in determining what films are most 
teachable and to develop a proper technique or 
method. Just as these institutions aim to put only 
the best literature in the hands of their pupils, so only 
the best motion pictures are being used and will be 
used for instruction. Thus not only the imparting 
of knowledge is added, but a taste for good films is 

Two Romans, Cicero in his De Oratore and Quin- 
tilian in his Institutes, tell how to become an orator. 
Both of these writers stressed the point that educa- 
tion including that of an orator begins with the cradle. 
Therefore no university or college can really develop 
visual education behind closed doors in the hermit- 
like atmosphere of academic cloisters. Such a study 
would tend to become too theoretical and impracti- 
cable. Rather the study of what films are suitable 
and teachable and how to use such motion pictures 
must be made in close cooperation with the elemen- 
tary and secondary schools. To the executives and 
teachers of such schools the university must look for 
helps and consequently with them must work in close 

The use of film material and the type of film mate- 
rial may be quite different in the twelfth grade from 
what it is in the third grade. The university with its 
own great resources with close cooperation with 
schools can help to determine suitable films for a par- 
ticular grade and how to use them in that grade. 

LET us survey very briefly some of the other parts 
of the modern school curriculum. The present 
tendency is to embody in the curriculum such subjects 
as dental hygiene, care of the body, dietetics, art and 
music. The effect of all this upon the child Is an ap- 
preciation, though often unconscious on his part, of 
all these subjects. He thus chooses to properly care 
for his teeth and body, to properly estimate food 
values, and to appreciate art and music. He thus 
acquires a desire for better things. 

Education, in general, influences choice for better 
things. An animal chooses, according to our stan- 
dards, the base and the crass, because better things 
are beyond his mental grasp. But man, in the generic 
sense, through educational influences upon the race 
going back for countless years, and man, in the indi- 
vidual sense, through his own particular education, 
chooses things less base and less crass. Education 
in general influences choice in general. Education in 
good motion pictures influences choice in motion pic- 

tures. The bad motion picture tends to seem cheap 
and repulsive, just as the culture of the well-bred man 
inwardly rebels against bad manners. 

By proper education the child may be trained to 
appreciate the best all along the line and in particular 
the best motion pictures. The inculcation by educa- 
tion of proper conceptions, for example, concerning 
what makes a sound monetary system, acts as social 
prophylactic against Russian bolshevism, which thinks 
that all the state need do, in order to provide cur- 
rency, is to acquire a printing press. It is just as true 
that constant exposure from early youth to good 
films acts as a good prophylactic so that the bad film 
becomes distasteful and therefore unpopular and un- 

Films which show how animals cooperate cannot 
do otherwise than stimulate cooperation. A motion 
picture showing how life begins helps eradicate fool- 
ish ideas. Fire prevention films lessen carelessness. 
Thrift films stimulate thrift. Historical motion pic- 
tures can bring out in clear definition the perseverance 
and enthusiasm of Columbus, the ideals of the Pil- 
grims, the privations of the early settler and fron- 
tiersmen, the patriotism of Washington, or the devo- 
tion of southern women to the cause of the Confed- 
eracy. This emotional effect of the film is far reach- 
ing. Hence there is need of the greatest care in pro- 
viding that the student sees only films adapted to his 
age and needs. 

In conclusion, vast changes are occurring in all lines 
of endeavor. Innovations are continually being made 
in education under the stimulus of university research 
and leadership. The motion picture is becoming recog- 
nized as an educational factor of tremendous value. 
Therefore it is of vast significance that the film with 
its great emotional power to influence the choice of 
evil or good is becoming such a vital part in the life 
of the university and the school. 

The Library and the Motion Picture 
{Continued from page 6) 

"He might a' knowed that; her father was a 

She was, of course, going to be a drunkard if some- 
thing wasn't done ! 

"What could she a' expected when she ran away 
with that bum?" 

In life nobody sees that at the time; it's mixed up 
with her hair ribbons. But the motion picture picks 
it out and for the first time in the world, to the com- 
mon man the events of life in their relation of cause 
and effect in bringing about human results, are shown. 
That is what this wonderful thing does for us. Yet 
we take it, perhaps, with suspicion, as the colored 
man in the street car takes the foreigners. He con- 
fided to me, "The immigranting of all these aliens 
into this country is a men-ace." 

The Church and the Motion Picture 


Rev. Andreii-s, who spoke on The Chiircli and The 
Motion Picture at the National Better Films Confer- 
ence recently held in New York, is Chairman, Com- 
mittee on Educational and Religious Drama, Federal 
Council of the Churches of Christ in .Imerica, and 
Vice-president and General Manager of the Religious 
Motion Picture Foundation. — FniTOR's NoTE. 

THRKH questions are asked repeatedly — "What 
is the Religious Motion Picture Foundation" 
and "What do you propose to do to supply the 
churches with pictures"? Finally, "How is the Re- 
ligious Motion Picture Foundation related to the Fed- 
eral Council" ? 

As Chairman of the Drama Committee of the Fed- 
eral Council, I was receiving numerous inquiries con- 
cerning religious motion pictures. "Where can we 
get suitable pictures for our churches?" came the ques- 
tion from many quarters. We had a list of companies 
which we had been told had pictures to offer, but we 
soon discovered the limitations of such sources of sup- 
plv- The further we carried our investigations, the 
more we discovered that there are not in existence 
at the present time a sufficient number of pictures suit- 
able for the churches in anything like an adequate 
supply and that if we were successfully to tackle the 
problem, we should have to build from the ground up. 

In the nature of the Federal Council it could not 
undertake the work; we therefore conceived the idea 
of organizing a company which would be intimately 
associated with, but organically independent of the 
Federal Council, to seek a solution of the problem. 
The Religious Motion Picture Foundation is the 

First of all, we are studying the problem of the 
churches' use of motion pictures. We are not the 
first to essay the task. Many have been the failures 
and few have attained to even partial success. We 
have studied the problem long enough to see that it 
is a triangular one. There are three angles to the 
question: First, production; second, distribution; and 
third, the equipment in the local church which makes 
possible the use of the pictures when produced and 
distributed. We have discovered that companies 
have undertaken to produce religious pictures and 
after producing a few have found themselves without 
adequate distributing machinery. Bankruptcy has 
therefore been unavoidable. 

Appreciating this difficulty, other groups have or- 
ganized to distribute religious pictures, to find, alas! 
few pictures to distribute. Finally, there is the prob- 

lem of equipment in the church. Without adequate 
equipment religious pictures cannot succeed in a large 
way, however well produced and distributed. 

A great problem indeed is each one of these and 
no company so far has been able to grapple with the 
problem in all its phases at the same time. What 
will we do about it? Appreciating the situation, we 
shall pursue our studies and experiments further to 
see if it is possible to effect a solution. We seek the 
support of theatrical and non-theatrical forces who 
will work unseltislily with us. To make pictures is 
an expensive business. I have had something to do 
with churches in an educational way for a good many 
years and I know how the local church has to struggle 
to pay for the literature, poor as it is, which it uses 
in the religious education of its boys and girls. If 
churches are to be equipped adequately for showing 
pictures and to pay the necessary rental for them, 
additional sources of revenue must be discovered. I 
am confident the needed funds can be had when lead- 
ers appreciate more fully the value of visual educa- 
tion. In the beginning at least, the service motive 
must be controlling in the production of pictures for 
the churches. 

A SECOND problem connected with the production 
of religious pictures is the attitude of still a large 
number of church members who believe the picture 
has no place in the church. There are people who still 
look upon moving pictures as an instrument of the 
devil, who feel that all drama is so tainted that relig- 
ious people cannot afford to deal with the subject. 
This attitude decreases the demand for religious pic- 

A study of the educational process has led to a new 
appreciation of the dramatic method to teach religion; 
and the organizations which I represent are interested 
to see that both the spoken and silent drama are used 
more widely in the church. At the same time we are 
keenly aware that prejudice against all things dra- 
matic exists and can be removed only by demonstrat- 
ing the teaching and inspiring value of drama. 

Finally we have to face the question : What is a 
religious picture? To answer this question we shall 
have to define religion. Who would like to essay 
the task? 

I remember when I was in the seminary, one of 
the examination questions in our senior year was, 
"W^hat is Religion"? The professor later read to us 
the definitions of the class on the subject. No two 
agreed. We were not of course allowed to repeat a 


National Board of Review Magazine 

phrase which we had borrowed from some ancient 
authority. Of course, then we should have agreed; 
we were to decide for ourselves. The professor in- 
formed us that he has put the same question to every 
class he had taught since his coming to the seminary 
and that he had found no two agreeing in their defi- 
nition of religion. 

IS it possible then to produce pictures which will 
prove acceptable to churches of so many creeds 
and faiths? What do you mean by religion, and what 
would you accept as a religious picture? I have tried 
to define the subject for myself. 1 think of religion 
as a philosophy of life according to which we try to 
live. It may be the Confucian philosophy. It may 
be the Buddhist philosophy, or the Christian philoso- 
phy. I believe that philosophy of religion is best 
which cultivates the affections and makes for the most 
wiiolesome relationships among men; therefore, 1 
believe that Christianity which puts the emphasis on 
love — love to God and love to one's fellow man, is 
the best religion, because it makes for a peaceful, 
cooperative society. 

But, can you put love on the screen? How do 
you know whether a person is in love or not? By 
the way they act. That is the only way we can tell 
what is going on inside. "By their fruits shall you 
know them," said the Master. We know and recog- 
nize the fruits of the truly Christian man. In him 
the Word becomes flesh and his fruits are pictureable. 

Last August I was one of the judges in the Greater 
Movie Contest which was conducted by Mr. Hays' 
organization, and it fell to me to read about one 
hundred and twenty of the best papers from the 
country. The thing that impressed me most, I think, 
was the fact, over and over again expressed, of how 
the motion picture afforded a way of escape, tem- 
porary release, at least, from the dull drab lives so 
many were condemned to live. 

I could but think in that connection of the way in 
which the old prayer meetings, revivals, camp meet- 
ings and sermons had served just that purpose for the 
mass of humanity in affording them temporary re- 
lease from the corroding cares of the day and giving 
them a prospect of the streets of gold and the gates 
of pearl. 

In a way the motion picture does just this. The 
beauty and romance of the silver screen help the toil- 
ers of farm and factory, of kitchen and office to 
forget the humdrum of life for a period and come 
back renewed for the task before them. Any pic- 
ture which does this is, to my way of thinking, re- 
ligious. This definition, you see, is not exclusive. On 
the contrary, it is inclusive, as it should be. There 
are pictures on the commercial screen today which 
are religious, that are preacliing great sermons to the 
multitudes. I could mention many. There is "Ben 
ITur," "Stella Dallas," "The Vanishing American," 


"I'hank You," and "The Fool." Of course, they 
liave their weak spots, but what picture has not? 

1 should like to hear a sermon which would be ac- 
ceptable to everybody in the audience. I should like 
to see somebody write a book against which no ob- 
jection would be lodged and somebody make a picture 
which would receive the approval of all. It can't 
be done because each one brings his own experience 
to the product and it is determined by us as much as it 
determines us. 

But I believe there are broad principles upon which 
we can agree, and which can be happily interpreted by 
the screen. 

FOR the convenience of my own thinking, I have 
divided religious pictures into six classes: (1) 
Bible; (2) Religious Biography; (3) Church His- 
tory; (4) World Friendship or Missionary; (5) Re- 
ligious Pedagogical Pictures for use in the Sunday 
School; and finally, (6) a large class of wholesome 
pictures that present a story especially suitable for 
Sunday night services. 

It seems to me these six classes hold vast possibili- 
ties for the church if properly produced, distributed 
and exhibited. 

Now I want to say just a word about another prob- 
lem which we have faced. We are going to face it 
more and more. It is the attitude of the motion 
picture industry itself toward the use of pictures in 
cliurches and schools. There are some who believe 
that if we could secure the best pictures which are 
produced for the commercial screen after they have 
had their theatrical run and show them in the 
churches, this would be the best solution of the prob- 
lem. I see numbers of pictures on the commercial 
screen which I should like to show in the churches, 
but there is evident a nervous fear on the part of the 
motion picture people, notably the exhibitors, lest the 
churches and schools become effective competitors in 
t'ne showing of pictures. 

1 was reading last week in the Motion Picture 
Magazine a notice from Cleveland that the Asso- 
ciated Exhibitors had protested to the exchanges 
against renting pictures to churches and schools. A 
similar situation in Baltimore was noted by the Film 

What the attitude of the leaders of the motion 
picture industry is, I do not know. However, per- 
sonalities do not count. We are facing hard, cold, 
business facts. William Allen White was right when 
he said in a recent issue of Colliers, in an article enti- 
tled, "Are the Movies a Mess or a Menace" that the 
motion picture industry is run not for art but for 
profit. If a picture does not succeed financially it 
will not be continued for Art's sake. It is therefore 
not difficult to understand the fears of these people, 
et-pecially the local exhibitors, however much we think 
{Coutiiuu'ii on pcuje 17) 

March-April, Nineteen Ttventy-six 

Exceptional Photoplays 

Selected by Committee on Exceptional Photoplays 

The Black Piratk^ from an oriy:inal screen story by Elton 

Thomas. Scenario by Jack Cunninirham. Produced by 

Douglas Fairbanks and distributed by United Artists. 
The ExQUisiTK Sinner, from the novel "Escape", by Alden 

Brooks. Scenaria by Alice D. G. Miller. Produced and 

distributed by Metro-Goldwyn-Mayer. 
A Kiss FOR Cinderella, from the novel by James M. Barrie. 

Scenaria by Willis Goldbeck and Townsend Martin. 

Produced by Famous Players-Lasky and distributed by 

La Boheme, from the libretto by Fred de Gresac and the 

novel, "Life in the Latin Quarter", by Henry Murger. 

Produced and distributed by Metro-Goldwyn-Mayer. 

Lady Windermere's Fan 

Directed by Ernst Luhitfch 

Photographed by Charles van Enger 

The Cast 

Lord Darlington Ronald Cohiian 

Mrs. Erlynne Irene Rich 

Lady kFinderniere May MrAvoy 

Lord M^indermere Bert Lytell 

Lord Augustus Edicard Martindel 

Duchess Helen Dunbar 

Duchess Carrie Daurnery 

Duchess Billie Bennett 

1\ Lady H'^indermeres Fan Ernst Lubitsch has 
given us another of his finished and technically 
surprising photoplays — masterpieces of their 
kind and the cream, surely, of polite drama, in one 
direction, and polite satire, in the other, in motion 
pictures. Going back to Wilde's play, he has built 
upon its skeleton a graceful, smoothly muscled form 
of cinematic adaption which, while it has no Titan 
power, is interesting in every movement and in every 
gesture of its intelligent action. Adhering closely to 
the structure of the original, this picturization of 
Lady fVindemere's Fan avoids the Wildian clever- 
ness, supplanting it with the Lubitsch ingenuity, at 
once recognizable from its manner of glowing nar- 
rative, rich, imaginative and perfectly translated in 
the language of the screen. In place of thrills of sit- 
uation, thrills of spectacular sets, thrills of mobs and 
masses and what-not, a keener thrill — one always to 
be experienced before this sort of motion picture en- 
tertainment by intelligent patrons of the cinema (for 
Lubitsch is always of the cinema in contrast to those 
directors who are always, and merely, of the movie) 
— is awakened by the inner fabric of the picture, lying 
there like a taut warp for the sure and shimmering 
pattern on the shifting screen, a pattern changing in 
rhythm, yet its color never varying in good taste and 
the design ever more clearly established and defined 

Lady Winuermere's 1''an, from thi; play by Oscar VVild<". 
Scenario by Julicn Josephsoii. Produced by Ernst 
Lubitsch and distributtid by Warner Brothers. 

Mare Nostrum, from thr novel by Blasco Ii)anez. Scenario 
by Willis Goldbeck, I'roduced by Hex Ingram and dis- 
tributed by Metro-Goldwyn-Mayer. 

Oh! What a Nurse! from an original screen story by 
Robert Sherwood and Bertram Bloch. Scenario by Darrj I 
Francis Zanuck. Produced and distributed by Warner 

The Sea Beast, from the novel "Moby Dick", by Herman 
Melville. Scenario by Bess Meredyth. Produced and 
distributed by Warner Brothers. 

from scene to scene, through embellishment on em- 
bellishment, until the full, ordered plan is executed. 
How many directors of motion pictures today can 
give you that accomplishment ? 

The story of how IVlis. Krlynnc, beautiful, witty, 
determined — and declasse — came back to London 
and, unrecognized by lu;i daughter, the bride of Lord 
Windermere, saved that young lady's reputation from 
scandal by claiming hei fan in the lodgings of Lord 
Darlington where she had lied after a misunderstand- 
ing with her husband who she believed was having an 
affair with the notorious iVlrs. Erlynne, is perhaps 
tf<o well known to repeat further. It is a good story 
and has bequeathed a situation to innumerable 
progeny reared by other writers after, and doubtless 
before, Wilde. But it is uo better a story than Mr. 
Lubitsch's film, and the film has the advantage since 
it is in the medium of today. The important thing 
to see is that a good story can be made a better pic- 
ture — when a Lubitsch tiaiidles it — sheerly through 
cinematic qualities developed througfi thorough un- 
derstanding of what the screen should and can do 
as distinguished from v/hat it should not and cannot 
do. And for the additional reason that when it does 
this, it is doing what is beyond the power of the writ- 
ten word in books and the spoken word on the stage. 
Such uses of the medium in Lady JVindermere's Fan 
are too many to enumerate. 'I'hey consist of such 
little, all-important matters as matchless cutting, 
unique camera angles, precisely natural movements 
of the actors, backgrounds that are like depths in 
paintings, and finger-touches of control of the mass 
that keeps it fluid yet never allows it to become 
muddy. What a clear screen, indeed, is that of IVIr. 
Frnst Lubitsch, and what a frame of delightful pro- 
portion is set around it by his quiet anil choice imag- 

To pause at the film's technical (]uality for a mo- 

National IJoard of Rfview Magazine 

ment ami offer an Illustration: I.ord Darlington and 
Lady Windermere liave gone out into the garden in 
the rear of the stately London house in which the 
great party is being lielii. He is imploring her to 
leave lier husband and come with him. Mrs. Lrlynne 
appears, coming out of the house, on the balustrade 
overlooking tiic garden. She sees the man and her 
daughter behind a box hedge quite far off. Now, the 
camera is never brought near to Lady Windermere 
and Lord Darlington. Their heads bob back and 
forth across the distant box hedge. You see them 
about as Mrs. E'rlynne sees them. The effect is per- 
fect, the drama of the scene behind the hedge is pre- 
cisely, vividly, and how uniquely told, and the air of 
the clandestine that awakens Mrs. Erlynne to the 
potential danger of the situation to her daughter is 
created so as to make the audience see what Mrs. 
Erlynne sees, and feel as she does, without bringing 
directly to our gaze Lady Windermere in flight before 
an impassioned man in a dark garden, a touch of art- 
istry which a messy, man-handling close-up would al- 
most certainly have spoiled by coarsening the visual 
image. Mr. Lubitsch has not forgotten that his char- 
acters are well-bred. 

The cast throughout is capable, as the Lubitsch 
casts invariably are. That loveliest actress of our 
screen, Irene Rich, contributes a Mrs. Erlynne that 
makes us feel at every turn what a fine lady is this, 
and how unconscionable was the smugness of the Brit- 
ish society that tried to throw her out. If Mr. 
Lubitsch was interested in the Wildian attack on the 
snobbery of the swells, he has pointed it mainly 
through Miss Rich's Mrs. Erlynne and the connota- 
tions to be drawn from the attitude of the characters 
as they are reflected from her, and at all times cine- 
graphically, for the Wildian dialogue of the play is 
avoided in the titles, which are scant and to the point, 
and not fillips to, but accessories of, the action. 

The Exquisite Sinner 

Directed I>\ Josef J nn Sternberg 

Photographed by Maxmillian Fabian 

The Cast 

Dnminique Prad Conrad Nagel 

The Gypsy Maid Renee Adoree 

Yvonne Paulette Duval 

Colonel Frank Currier 

Colonels Orderly George K. Arthur 

The Gypsy Chief Matheiv Retz 

_, . , „. 'f Helena D'Ahv 

Domtnque s Sisters j C,^,y^ ^„/^^^,, 

THE Exquisite Sinner marks an advance in gen- 
eral smotbness and beauty of production over 
that other exceptional photoplay directed by 
Mr. Von Sternberg, The Salvaliau Jliinlers. The 
Exquisite Sinner is one of the most original and de- 
lightful films that has been exhibited this year. It is 


a departure In theme and treatment from the run of 
pictures, yet its radical tendencies are not such as to 
set up any barrier between an understanding and ap- 
preciation of the film and the general audience — its 
beauty and meaning are not esoteric, and its all- 
around merit is readily discernible by all. 

The plot concerns the efforts of a rich young 
Parisian to escape from his pampering, boring, con- 
ventional environment. Dominque Prad, the young 
man in question, finds himself saddled, upon the death 
of his uncle, with the management of a great silk mill, 
the profits from which support his two self-centered, 
luxury-loving sisters and their respective parasitical 
husbands in the expensive, idle mode of living to 
which greed and a lack of imagination have accus- 
tomed tliem. Young Prad has the imagination. He 
plays mad, throws the business at their heads, and 
vamooses to a kind of fabulous medieval city in the 
Provinces where life is simple, stimulating and pic- 
turesque. There he meets a gypsy dancer and with 
her wanders away into the woodlands of romance. 
Although his family and his fiancee's father, a ridicu- 
lous colonel person, hasten in pursuit and set a reward 
upon his capture, he and the gypsy girl elude them 
until they have consummated their love in a pic- 
turesque marriage. At this point young Prad snaps 
final fingers at the family, the business, the colonel 
and his daughters, and enters joyously into a world 
all love and liberation. 

Within this story, part fable, part reality, Mr. 
Von Sternberg has framed his blithe and simple mean- 
ing: love is for the free-in-heart, life lies on the g>'psy 
trail. Allegory, satire, burlesque, realism are used by 
turns with fine blending, proportion and original man- 
ner, and passages of poignantly felt lyricism give great 
tone and dewy-freshness to the film. Fancy is every- 
where nicely modulated and thrown around every in- 
cident of the plot, and the action moves In a luxury 
of images, suggestive, unusual, yet invariably telling. 
One has a suspicion that the vigor and abundance of 
the picture have been somewhat curtailed by cutting 
and a certain flatness of titling, and that the savor 
of Mr. Von Sternberg's full canvas was even fresher 
'and more odorous with Its faintly alien, beguiling 
scent. But as it stands. The Exquisite Sinner bears 
the stamp of the unusual, with its precise and for the 
most part unblemished technique, its tell-tale queer- 
ness like a mirror dewy-bright but a little distorted, 
and its feeling for life toward which some souls 
struggle but which rarely, unless they have courage, 
pure hearts and a kind of madness, permits them to 
emerge from the shell of duty and stodgy custom and 
its dull bindings of a mechanical world. 

Conrad Nagel as young Prad does the best work 
of his career in motion pictures. Mr. Nagel, by no 
means our conception of a social rebel and a gypsy 
lover, and with a long gallery of portraits of sporty- 

March-Aprtl. S'ineleen Tivenly-six 

collar boys behind him, seems to have been infected 
with something; of Mr. Von Sternberg's vagabonding 
from the roads passed lumberingly over by the Hashy, 
eight-in-a-line films built by the trade for the popular 
demand. A little further sojourning with Mr. Von 
Sternberg might put just that breathe of life into Mr. 
Nagel which would make him a zestful screen per- 
sonality, something beyond the merely agreeable 
presentment of a nice looking and acting young man. 

Renee Adoree as the gypsy maid is as effective in 
another way as is Renee Adoree as Melisande in The 
Big Parade. That is saying a lot. But Miss Adoree's 
gypsy is a part of the wildwood, brown as the pliant 
stem of a young tree, faintly delicious with the sweet- 
ness of young growing wild things, dangerous to the 
heart of the hero — a secret and a symbol of the thing 
men call Romance, seldom as potently figured forth 
as this in motion pictures. 

The rest of the cast is remarkably good, and moved 
by the director always to the end of good entertain- 
men. Limited space forbids all that might profit- 
ably be said about the merits of this picture, except to 
reiterate its charm, which is enhanced, perhaps ex- 
plained, by that same continental touch that distin- 
guishes the work of Messrs. Lubitsch, Von Stroheim 
— and now Von Sternberg — and places their pictures 
among the finest made in America. 

A Kiss for Cinderella 

Directed by Herbert Brenon 

Photographed by J. Roy Hunt 

The Cast 

Cinderella Betty Branson 

Policeman To?n Moore 

Fairy Godmother Esther Ralston 

Richard Bodie Henry Vibart 

Queen Dorothy Cumming 

Mr. Cutaicay Ivan Simpson 

Mrs. Moloney Dorothy IV alters 

Second Customer Flora Finch 

Third Customer Juliet Brenon 

Gladys (English) Marilyn McLain 

Marie-Therese (French) Pattie Coaklcy 

Sally (American) Mary Christian 

Gretchen ( German ) Edna Hagen 

A KISS For Cinderella furnishes an admirable 
example of what the screen can do above and 
beyond the stage when the author has a mind 
to let himself go and indulge his imagination in a 
world of sheer make-believe. For here Barrie's 
whimsy is no longer limited by the three walls of the 
stage and the tyranny of the stage carpenter. 

This is especially true when an author is dealing 
with a story which is partly pure fancy and partly a 
modern day story of life as we know it. Whereas 
formerly an author would have despaired of the 
clumsy resources of the stage to carry out his idea 
and would therefore have confined himself to the 

novel form, he may now turn with confidence to the 
motion picture studio and the director to embody his 
most ethereal conception. ./ Kiss For Cinderella 
was, of course, not written for the screen but it is 
quite conceivable that Barrie might be tempted to 
write so now. The film industry is beginning to see 
the wisdom of allowing original authors to work di- 
rectly in the medium of the screen so as to avoid any 
loss of inspiration due to alien hands. 

./ Kiss For Cinderella embodies the romantic 
dream of a little London slavey who, like Peter Pan, 
still believes in fairies. She dreams of a fairy god- 
mother who will waft her into an enchanted realm 
of regal courts and handsome princes where she will 
be compensated for all tlie privations and hard work 
of her everyday life. Essentially it is the re-telling 
of the old Cinderella fable by a master of humor and 

The beginning of the picture shows Cinderella, 
known as "Cinders" by the artist for whom she works, 
under grave suspicion of giving aid to the enemy in 
the shape of German zeppelins which are bombarding 
London. A careful investigation on the part of the 
artist and of a policeman with a quaint Barrie idea of 
detective methods, clears her of this charge but firmly 
establishes her guilt when it comes to relying on 
fairies. Left on the wintry threshold of her lodging 
with a cage of four white mice and a pumpkin she 
dreams a glorified Cinderella dream and wakes up 
to find her dream realized in a romance with the soli- 
citous policeman. 

The story of Cinderella as told in this picture is 
one which will have a sure appeal both for the adult 
and the child. It will beguile the child by its direct ap- 
peal to its imagination, and in amusing the adult by 
its blend of realism and fancy it will make him won- 
der whether life itself isn't rather like a fairy tale. 
That, in a way, is all that Barrie has tried to say in all 
his writings. 

Betty Bronson as Cinderella brings a natural child- 
like quality as well as beauty to the part. In the be- 
ginning she is perhaps a little too soapy looking as 
the slavey, but that makes the shower of beauty which 
she releases in the final reel all the more startling. 
It would be difficult to think of a better choice for 
the part than Miss Bronson; she looks as if she were 
indeed a fairy child. Tom Moore is a prince of a 
policeman in the prologue and easily slides into the 
part of the prince later on. He contributes an easy 
humor to his interpretation, especially when he shows 
his boredom at having to act as a kind of shoe clerk to 
so many lady candidates who sue for his hand by 
seeking a perfect fit for their feet. 

Herbert Brenon directs competently and again 
shows his mastery In creating delicate screen phan- 
tasies in the big ball which the Prince gives for Cin- 


National Br)\Ri) of Review Magazine 

The Sea Beast 

Directed hy M'lllnrd ll'ehh 

Photographed by Byron ihiskiiis 

The Cost 

Ahab Ceeley John Barry mure 

Esther Harper Dolores Costello 

Derek Ceeley Georije O'llara 

Flask Mike Donliii 

Queenqueg Sam Baker 

Perth George Biirrell 

Sea Captain Sam A lien 

Stubbs Frank \'elson 

Mula Mathilde Cornont 

Rev. Harper James Barroivs 

Pip Vadin U ran off 

Fedellah Sojin 

Daggoo Frank Hagney 

THE Sea Bcasl is a stirring melodrama of a 
whaler's life on the open sea with John Barry- 
more in the title role and a certain amount of 
literary tradition behind it. The last of these quali- 
ties is derived from the fact that the story is to some 
extent based upon Herman Melville's "Moby Dick," 
for a long time one of the most talked about but not 
much read of all American novels. But the resem- 
blance between book and picture is none too great 
when it is considered that in the original Moby Dick, 
the whale, remains the unconquered hero and that 
tlie dour whaler was hardly a matinee girl's ideal of 
a lover. 

But the picture shows at its best some real feeling 
for the sea with a salt water flavor which an Old New 
Fngland whaling community would appreciate. It 
shows also something of the vague terror, the haunt- 
ing fascination of desolate ocean spaces and the lurk- 
ing terrors of storms or deadly tropical calms when 
the sea beast challenges man's fragile supremacy over 
the waves. The old romantic impulse to go to sea 
which the inlander, deep in the heart of a continent 
still feels occasionally, will undoubtedly be stirred in 
many hearts when this picture is shown. 

The interpoloated love story is not without its 
charm, with Dolores Costello playing the part of 
Esther Wiscasset and giving it not only beauty but 
the flavor of an old time courtship. The scenes of 
the whaler's departure from the little New England 
harbor when the two brothers, Ahab and Derek, are 
taking leave from Esther and again when they meet 
in the far off harbor of Surabaya in Java, have the 
true romantic atmosphere of the sailor and bis lass 
and the sea that always comes between them. 

The story of the picture may be recapitulated 
briefly. It concerns two brothers, both in love with 
the same girl, who go off on a long whaling trip. The 
younger brother is consumeii with jealousy and in a 
fit of revenge pushes his older brother out of the boat 
just as Moby Dick, the fabulous whale, is attacking. 
The big monster bites off Ahab's leg who, feeling that 
he has lost the love of Esther through having be- 


come a cripple, vows eternal hatrcil for Moby Dick 
whom he now hunts relentlessly over the Seven Seas. 
After many years, during whicli lie is the half insane 
captain of the whaling ship, he at last finds Moby 
Dick and succeeds in harpooning him to death. Just 
before this he has discovered that it was his brother 
who pushed him out of the boat into the whale's 
mouth and in tlic fight that ensues the brother is 
drowned by falling into the sea. Esther and her 
father are wrecked and picked up by Ahab's ship and 
the childhood lovers are reunited. 

The Sea Beast, aside from its own picturesqueness 
as a story of life aboard an old fashioned whaler and 
its authentic atmosphere of the sea, is carried to suc- 
cess largely through the performance of John 
Barrymore as Ahab. We are quite willing to agree 
that John Barrymore is a whale of an actor in more 
senses than one. He is both excellent as a straight 
actor and his command of convincing make-up is on a 
level with Lon Chaney's. But his screen work fre- 
quently shows a tendency towards exaggeration and 
an indulgence in virtuousity for its own sake. His 
registration of pain when his lacerated leg is being 
seared with hot irons is certainly overdone as regards 
;'rtistic effect, aside from probably being untrue to 
the life of those times. So much screaming and con- 
tortion would have been greeted with derision by the 
other members of the crew whose life was such as 
to inure them to pain. This scene is one of the sen- 
sational features of the picture M'hich for the sake of 
artistry might well have been toned down. 

La Boheme 

Directed hy King Vidor 

Photographed by Henrik Sartov 

Ike Cast 

Miini Lillian Gish 

Rodolphe » John Gilbert 

Musette Renee Adoree 

Schaunard George Hassell 

Vicomte Paul Roy D'Arcy 

Colline. Eduard Everett Ilorton 

Benoit (Janitor) Karl Kane 

Theatre Manager Frank Currier 

Madame Benoit Malilde Comont 

Marcel Gino Carrado 

Bernard Gene Pnuyet 

Alexis David Mir 

Louise Catherine Vidor 

Phemie Valenlina Zimina 

LI Boheme has given rise to an unusual amount 
of discussion with many criticisms of its 
' slow action and rather thin story together 
with perhaps exaggerated praise of some of its "ar- 
tistic" qualities on the part of ardent champions. 

This brings up the question of what constitutes 
action in a motion picture. Probably the majority of 

March-April, S'iiiftffn Tii'tnty-iix 

those who chimor for constant action in a picture 
would he harii put to it to exphiin just what tliey mean 
by that term. As a rule the itlea is horroweil from 
the stage play where the only alternative to action is 
speech, with the ever present danger of producing 
a play which is merely talky. But this narrow con- 
ception of action, borrowed from the medium of the 
stage, cannot be set up as a criterion of what con- 
stitutes an arresting picture. As a matter of fact 
the great majority of picture stories suffer from over- 
telling, pre-digesting everything for the childish spec- 
tator so that nothing is left for the imagination to 
feast upon. And yet isn't art supposed to be a feast 
for the imagination? 

A picture has every right to be leisurely in its move- 
ment, lacking in obvious dramatic punches and de- 
liberately pictorial if it can still fascinate the eye with 
significant detail and stir emotion with the cineo- 
graphic value of inanimate things. 

La Boheme, it must be remembered, seeks to de- 
pict a side of life which had a value of its own be- 
fore the days of jazz, radio, or even the cinema. The 
kind of life it shows had different manners, different 
reticences, a different feeling for things both of the 
spirit and of the flesh. La Boheme speeded up into 
the rhythm of modern life according to the latest idea 
of "snap" or "pep" simply would no longer be "La 
Boheme." Call it reverence for the past if you will, 
but every literary classic has its mood which is entitled 
to respect in any mociern re-interpretation. 

The story of La Boheme as shown in this picture 
goes back to Henry Murger's stories of La Vie 
Boheme in Paris of a century ago rather than to the 
libretto for the opera which de Gresac fashioned from 
the original. It tells about Mimi, a frail little seam- 
stress, and a young journalist, ambitious to become a 
playwright, both of them fighting poverty and the 
landlord. The seamstress takes his pot boilers to a 
hardened editor and when they are no longer accepted 
she continues to pay the writer out of her own slim 
earnings. She has to work harder and harder to 
support both herself and him and in addition suffers 
from his neglect. At the very moment when he 
achieves success as a dramatist she dies of consump- 

Just one of love's little ironies, one might be 
tempted to say, with hardly enough material for the 
average picture, let alone a nine reel feature. And 
yet a nine reel feature it has become, with many un- 
forgettable scenes from an old world Paris pictured 
with loving, careful detail and much excellent acting 
by Lillian Gish and John Gilbert, not to mention its 
consistent style and well sustained atmosphere under 
King Vidor's skillful and patient directing. A pic- 
ture that has the courage to be true to itself, to stick 
to an unhappy ending and to risk the charge of be- 
ing too slow to "go big" with the average audience. 

Mare Nostrum 

(Our S,-,i) 

Directed by Rex In//rnm 

Phritot/riifthed by lohii F. Seitz 

The (uisl 

The Triton Uiii A poUiin 

Dun Esteben Terret/iit Alex Nova 

His son. Ulysses Kdtla-Abd-el-Kader 

Caragol lliighie Mack 

Freyci Teilbertj Alice Terry 

Ulysses Ferragut Intonio Moreno 

His u'ife. Dona Ciiitii Mile. Kithnou 

Their son, Esteban Michael Brunt ford 

Their niece, Pepitci Rosila Ramirez 

Toni, the mate Frederick Mariotti 

Doctor Fedelmann Mine. Paquerette 

Count Keledine Fernand Mailly 

Submarine commander hidre von Engelman 

IT is nothing new to report that Rex Ingram has 
produced a beautiful film; this is expected of him 
by his admirers and he still persists in not dis- 
appointing them. The element of beauty is always 
the basis of his pictures' exceptionability. This 
beauty is both pictorial and physical — a correct 
richness of movement against a carefully chosen 
scenic splendour. 

Having gone to the cities of the Mediterranean 
for the background of his latest film, he has come 
back with his reels of beautiful, delighting pictures. 
His screen version of Ibanez's Mare Nostrum pho- 
tographically fills the eye and again satisfies us that 
Mr. Ingram knows how to point the camera at his 
scenic material. 

Ulysses Ferragut, a Spanish sea captain, is per- 
suaded by the love of Freya Talberg, an Austrian 
spy, to carry supplies to a German submarine which 
afterwards becomes the cause of his son's death. 
He refuses to take Freya away when she is tracked 
by the police, and sails off leaving her to an inevit- 
able execution. His siiip is then attacked by the sub- 
marine, which killed his son, and torpedoed, but Fer- 
ragut, managing to crawl to the gun at the up-tilted 
bow, takes one last effective shot at the under-sea 
boat, which completes his revenge. 

The story runs through in an entertaining way de- 
spite some sluggish spots, and achieves an effect of 
serious undertaking on the part of Mr. Ingram. A 
certain far-fetched mystery is added to the character 
of F~reya by her close resemblance to a painting of 
Amphitrite, the sea-goddess, and gives excuse for a 
rather horrific scene in the Naples Aquarium — the 
one in which Freya, who is known to the attendants 
here, with an apparent fascination for death as it is 
associated in her sub-conscious with the destroying 
monsters of the deep, bribes the keeper to stir up a 
tight between two octopuses, and gazes greedily till 
the end when she falls upon LMysses with a violent 
kiss. This is interesting as spectacle, of course; like- 
wise it sliows that .Mr. Ingram has adhered closely 


Xationai. Hoard of Review Magazine 

to the IbuMcz method ot creating interest in some of 
his heroines by endowing them with the proper mod- 
ern psycho-pathological tendencies. That the mo- 
tion picture is beginning to recognize these in its 
character-treatments indicates that it is progressing 
in an interest in, and a technique to handle, situations 
in which subtle psychological values play a part, and 
is thus enlarging its discernment and scope. 

The most dramatic scene of all is at the execution. 
All the lost hopes cherished by a woman who has 
tried to serve her country are focused in Freya's last 
forced effort to present an example of imposing hero- 
ism. Jewels, furs and even the unnecessary mil- 
itary grandeur all fit into what seems to her more 
than just a killing. She is determined to die like a 
soldier, little realizing till the last minute that a sol- 
dier's death is as horrible as anyone else's. Then 
all the ceremony and heroism fade away leaving only 
the black holes of aiming barrels. A look of child- 
ish, pleading fright comes over her as the officer, 
with his last grain of nerve, drops tlie sword and the 
shots are fired. 

At the end we seem for the moment to be on the 
verge of the old slush when Ulysses is shown, after 
the ship's sinking, sliding deeper and deeper below 
the surface into the arms of Amphitrite, or Freya, 
the goddess and the woman having at this point be- 
come symbolically fused. But then it is seen that 
such an illusion Is perfectly permissible In the mind 
of a man dying in what is supposed to be the most 
pleasant way, especially one who has been violently 
kissed by the lady he loves beside a tank of fish. A 
cut-back to the sea pounding on the rocks makes an 
effective climax and leaves a thrill which is seldom 
felt in the time-worn clinch. 

Mare Nostrum goes a long way toward redeeming 
two stars. It has taken Alice Terry out of the 
petted blond class Into one where characters are cre- 
ated, and iias shown that Antonio Moreno Is good 
for more than the serial-type sheik stuff. 

But it Is a question whether the alien mem- 
bers of the cast — Mile. Kithnou and young Michael 
Brantford, as Ferragut's uncherished wife and son, 
Mme. Paquerette as the woman head of the Teutonic 
spys in Italy, and one or two others in minor roles — 
do not furnish the best understanding of the pic- 
ture's histrionic needs and bring a training better 
equipped to meet them. 

Mare Nostrum's success will lie In its apprecia- 
tion by those who see deeply enough to recognize a 
physically beautiful, entertaining and well done mo- 
tion picture, but not ton deep to have a suspicion that 
Mr. Ingram, by exceptional direction and tlie In- 
uenulty of some unusual Incidences, has saved what, 
notwithstanding Ibanez, is not such a very extraor- 
dinary story from being a not too ordinary film. 


The Black Pirate 

Dine led h\ ilhert Parker 

I'h'il'ir/rtifilieil hy Henry Slinrf 

The Plfiyers 

Ddiii/his Fairbanks Air. S/efens 

Bille D',ve Mr. fVallace 

Mrs. Piijott Mr. Becker 

Mr. Crisp Mr. Belcher 

.Mr. Dedrasse Mr. Rntcliffe 

Mr. Randolf 

A I AIRY story of the swashbuckling, hair-rais- 
ing type is The Black Pirate with all the pre- 
requisites of captive princesses, knights incog- 
nito, bloody pirates, buried treasure and tender- 
hearted though gruff Scotchmen. Even the white 
horse is present wlio carries the hero overseas in the 
moonlight to secure his trusty legions on the main- 
land. But tile whole presentation Is staged with fhe 
consummate art of Douglas Fairbanks, who has once 
more brouglit to the screen a clean and wholesome 
super-feature romance that reminds tlie jaded theater- 
goer that everybody still enjoys fairy tales. 

Mr. Fairbanks Is one of the greatest contributors 
to the much needed return of the romantic drama 
after the screen has been deluged for so many years 
with themes of alleged realism. The Black Pirate 
is a rollicking sea story with only two short scenes on 
land and those on a desert island. Unlike The Sea 
Beast, Mr. Fairbanks did not have to go inland for 
his love story but found a way instead of bringing the 
heroine to sea. 

The Fairbanks acrobatics which tend to grow 
monotonous In many of his pictures are not so much 
in evidence In this one and when employed are never 
tiresome. His single-handed capture of a merchant 
galleon Is as clever a performance as Fairbanks has 
ever staged. The acrobatic band whose antics be- 
came somewhat ridiculous in Robin Hood appears at 
the end of the play but with much better effect. All 
who enjoyed The Thief of Bagdad will be delighted 
with The Black Pirate, which Is a play of the same 
type with slightly better acting and far better popular 
entertainment value. 

A great advance In the art of tinted pictures has 
been made In The Black Pirate. The value of na- 
tural colors In the presentation of sea pictures is un- 
questioned. It was a daring step for Mr. Fairbanks 
to take when he presented this drama In the new blues, 
greens, reds and browns. For there is much yet to be 
desired in this phase of the work of the screen. But 
the success which he has had In this production will 
go far in encouraging further attempts in color pic- 
tures. The romantic drama even more than the real- 
ibtic play needs tlie color effects in order that it may 
be fully appreciated. And thus in another way has 
Mr. Fairbanks contributed to the return of romantic- 
ism to the screen. 

]\Itirih-A piil. S'imttiN Tzitiity-iix 

Oh! What a Nurse! 

Dirtcteil by Cbiis. ( Chuck) Rchner 

Phi)t(i(iriipht(l hy J'jhn Mi-sciiU 

The C/isI 

Jirry Clark S\il Cliiif<li/i 

June Hfirris'iu I'/i/sy Ruth Milltr 

Olive Hunt Guyiie If hit rutin 

Capt. "Lritiye" Kirhy Mntheji' Bctz 

Mrs. Clark (Jerry's Mother) Edith Yorke 

"Rill Tim" Harrison Dave Torranre 

Eric Johnson Ed. Kennedy 

Mate Raymond If ells 

Editor of the "Press Gazette" Henry Barroives 

SLAPSTICK, tluit form of muscular comedy in 
which tlie human frame is ever coming into dis- 
concerting contact \vitli hard, wet, or iiot ob- 
jects, has its perennial appeal. That appeal is more 
broad than high, if you will, and the possible effects 
and combinations are limited, so that it often seems 
as if further inspiration must ere long run dry. 
Comedians repeat themselves without end, changing 
only in style and manner from the methods of the 
earliest circus clowns. And yet we are constantly 
amused at seeing a person slip or fall with comic dis- 
comfiture, at observing dignity ruffled, at watching 
pomposity laid low. This frankest, earliest, most 
childlike laughter goes on forever. We laugh like 
children because something of the child in us has 

Syd Chaplin, who has too often kept his talent 
under cover, firmly established his reputation as a 
comedian in his version of the famous farce 
Charley's Aunt, already reviewed in Exceptional 
Photoplays, February, 1925. In Oh! What a Nurse! 
he duplicates his success and shows a distinct advance 
in pantomimic ability. Here again he impersonates 
a woman, two of them In fact, and achieves his comic 
effects in meeting the ardent wooing of several male 
admirers, with a skill that puts him into a class by 
himself as a creator of feminine roles. His method 
has none of the mincing, effeminate qualities of tlie 
average female interpreter and always preserves 
something of the wholesome atmosphere of college 
men's theatricals when the least heavily built mem- 
ber of the football team is called upon to take off 
some aunt of Charleys or some cousin of George's. 

Oh! What a Nurse!, an original scenario by Rob- 
ert Sherwood and Bertram Block, calls for a cub re- 
porter to impersonate Dolly Whimple, the lady who 
dispenses advice to the lovelorn readers of the paper. 
He sets out on his task in a costume most forcibly 
thrust upon him by a desperate bootlegger who has 
been using a female disguise in his rum-running. 

When things get too hot for him, what with several 
wooers and revenue men in pursuit, he jumps from 
the frying pan into the fire by changing from one 
skirt into another and again has his hands full on a 
rum schooner with the whole crew wooing him and 

an heiress in desperate need of being savci.1 from a 
forced marriage. Here Mr. Chaplin's comic pan- 
tomime is at its best, the brightest spots being his 
attempt to convey to the heroine that her prospective 
husband is a great deal worse than he should be, his 
diagnosis of a supposedly sick man who is much bet- 
ter than he deserves to be, and his realistic fit of 
hysterics when he pretends to have been "done wrong 
by" at the hands of one of the villains. The titles are 
often witty and greatly add to the hilarity of the 

The Church and the Motion Picture 

{Continued from page 10) 
they are foolish and blind to their own interests. In 
the long run, it is my firm conviction that the "pic- 
ture mind" created by churches, schools and play 
houses, will build up and not destroy attendance at 
pictures in churches. The church is not primarily a 
commercial houses. 

In saying this I am not pleading for entertainment 
pictures in churches. The church is not primarily a 
place of entertainment. Moreover entertainment is 
well cared for by numerous agencies in the commu- 
nity. The church should be about more serious busi- 
ness. However, the church cannot be indifferent to 
the way in which its people spend their leisure time. 

With the ever-decreasing hours of labor and the in- 
creasing hours of leisure and the addition of machin- 
ery that ever shortens these hours, there will be the 
problem of increasing leisure. How are our people 
going to spend that time? If I understand the ten- 
dency in the church at the present time, it is to pay 
more and more attention to relationships hitherto 
considered outside the pale of religion, notably the 
industrial, the social, the racial, the international and 
the amusement. The church need not go into the 
entertainment business, but it must concern itself with 
the sort of entertainment being given to its boys and 
girls. Without doubt the church would be happy to 
feel that the motion picture industry was giving 
wholesome entertainment to its boys and girls, its 
men and women, and I feel sure it would have no 
objection if the business should prove itself profitable 

The church is concerned with entertainment pic- 
tures, but I agree that the solution is not through 
legal censorship. I believe the most promising thing 
about the present situation is the work that is going 
on within the industry itself for higher grade pic- 
tures. I believe that to work from the inside out is 
always the better way, whether you are thinking of in- 
dividual or institutional improvement. 

Cooperation must be the watch-word. We shall 
not get far standing in our backyards making faces 
at each other. Together let us work for the new 
day in motion pictures for church, school and whole- 
some entertainment. 


X.ATioNAi. Board of Rfview Magazine 

Guide To The Selected Pictures 

Selected by. the Review Commiltee 


Key to Audience Suitability 

General audience (composed principal- 
ly of adults). Pictures primarily inter- 
esting to adults — but pictures not ordinar- 
ily recommended for boys and girls may 
be included in the list if the presentation 
is not objectionable for them. 

Family audience, including young peo- 
ple. Pictures acceptable to adults and 
also interesting to and wholesome for boys 
and girls of High School age. 

Family audience, including children. 
Pictures acceptable to adults and also in- 
teresting to and wholesome for boys and 
girls of grammar school age. 

Mature audience. Pictures recom- 
mended for the consideration and enjoy- 
ment of adults. 

Note: — Programs for Junior Matinees 
should be selected from pictures in the 
family audience classifications. 

* — Pictures especially interesting or tiell 
done but not necessarily "exceptional." 

The Barrier 

Directed by Geori/e Hill 

{Norman Kerry 
Marcia Day 
I ■ ID 

Lionel linrryniori 
Henry U' all hat 
A(/i,7 by Rex Beach 
A DRAMA during the time of the gold 
•'^ rush in Alaska. A seafaring man 
thinking he has killed the captain in order 
to protect a half-breed child, hides in 
Alaska under an assumed name. When 
grown the young girl falls in love with a 
white man and her life is nearly wrecked 
by the captain, who discovering the man 
w^ho attempted his life, tries to ruin the 
girl's happiness by telling her fiance that 
her mother was a half-breed. The pho- 
tography is very tine and the acting of 
Walthal and Barrymore is above the av- 

For the general audience. 

(Metro-Goldwyn — 7 reels) 

Behind the Front 

Directed by Edward Sutherland 

[ ti'allacc Beerv 

Featurino \ Raymond Hatlnn 

I Mary Brian 
Story, "The Spoih of li'ar." 
by Hugh Wiley 
T^WO doughboys, who find life hard in 
the trenches, are able to find fun even 
in grim war, in this comedy drama of the 
World War. .\ Red Cross worker is 
worshipped by the doughboys, and the 
story does away with the usual love epi- 
sodes. The acting is excellent and the 
atmosphere of No Man's Land is well 

For the general audience. 

(Paramount — 6 reels) 


Beverly of Graustark 

Directed by Sidney Franklin 

Featuring Marion Davies 

Novel by George Barr McCutcheon 

DEVERLV. living a peaceful life in 
'—^ America, finds herself involved in 
state affairs of a small province in Europe. 
Her cousin, heir to the throne, is injured 
and Beverly takes his place as king. All 
would be well if Beverly had not fallen 
in love with her personal guard but just 
as she is about to be exposed as an im- 
postor, her cousin arrives and saves the 
day. Beverly of course marries the guard. 

Though the screen version is quite im- 
like the book, the story is amusing and the 
acting of Miss Davies and Antonio Mo- 
reno is very good. 

For the family audience, including the 
young people. 

(.Metro-Goldwyn — 7 reels) 

The Blackbird 

Directed hy Tod Browning 

Featurint/ Lon Chaney 

Original screen story by Pat Reilly 

T ON CHANEY appears again on the 
^— ' screen in an underworld story. The 
Blackbird is a tale of Lime House, and 
Lon Chaney is both the evil spirit and the 
ministering angel. As Dr. Jekyll, he is a 
poor cripple, keeping a mission and help- 
ing the unfortunates who infest Lime 
House. As Mr. Hyde, he straightens his 
muscles and now a tall and burly man, 
he robs and steals. Although he steals 
from the rich to give to the poor when he 
resumes his crippled condition, this is not 
made very clear. 

For the mature audience. 

(Metro-Goldwyn — 7 reels) 

The Blind Goddess 

Directed by / ictor Fleming 

{ Esther Ralston 

I'eaturing ^1 Jack Holt 

I Marie Dressier 
Novel by Arthur Train 

T^'HE appeal of this story is mother love 
^ promoting self-sacrifice. A father has 
brought up his daughter to revere the mem- 
ory of her mother whom he has divorced. 
The exiled wife and mother comes to plead 
for her daughter's love and companionship 
hut is again repulsed. That night the 
father is killed and the mother, still un- 
known to her daughter, is accused of the 
murder. She cannot clear herself without 
reve.iling her identity and her own daugh- 
ter is most active in having her prosecuted. 
She is finally united to her repentant 

I or the general audience. 

(Famous Players — 8 reels) 

Bride of the Storm 
Directed by J. Stuart Blackton 

c . ■ I Dolores (lostello 

teaturtng , , , ,, 

( J onn tiarron 

Novel, "Maryland, My .Maryland," by 
James Francis Dwyer 
A YOUNG American girl, the sole sur- 
•'* vivor of a shipwreck, is saved by a 
lighthouse crew in the Dutch f^ast Indies. 
She is brought up to speak Dutch but 
faintly remembers "Maryland, my Mary- 
land," which her mother taught her. The 
lighthouse keeper plans to marry her to 
his idiot son in order to secure her inher- 
itance but a young American naval officer 
arrives on the scene and rescues her. Pic- 
turesque settings add to the picture. 
For the general audience. 

(Warner Bros. — 7 reels) 


Chip of the Flying U 

Directed by Lynn Reynolds 

Featuring Hoot Gibson 

Novel by B. M. Bowers 

COWBOY and his pals, two horses, 
play the leading roles in this romantic 
comedy drama. Shy of women, the cow- 
boy's life is at first made miserable by two 
women who come to the ranch. Later he 
falls in love with one and decides that the 
opposite sex is not to be despised. Comedy 
relief is furnished by the other cowboys. 
For the family audience, including young 
people. (Universal — 7 reels) 

Dancing Mothers 

Directed by Herbert Brenon 

f Alice Joyce 

Featuring -j Clara Bow 

I Conivay Tearle 
Play by Edgar Selwyn and 
Edmund Goulding 

A MOTHER finally realizes the selfish- 
•'^ ncss of her flapper daughter and hus- 
band who are both so engrossed with their 
own pleasures outside of the home that 
she finds herself left alone most of the 
time. She decides to live her own life and 
seeks happiness in the society of other men 
and women. 

For the mature audience. 

(Paramount — 8 reels) 

The Danger Girl 

Directed by Edward Dillon 

Featurino Priscilla Dean 

Play. "The Bride" by 

George Middleton and Stewart Oliver 

T F the improbable situations in this crook 
^ comedy are accepted, the picture will 
undoubtedly amuse and entertain. The 
scene is laid in the home of two crotchety 
bachelors, each engrossed in a hobby. The 
younger brother has a collection of precious 
stones, the elder spends his free hours in 
the culture of rare fish. A young woman 

March-A pril, Xitieteiii Ttcenty-six 

seeks protection from a forced marriage. 
She makes herself entirely at home, to the 
disgust and discomfort of the older man 
and the delight and entertainment of the 
younger one. Not until the final scenes 
is the actual identity of the girl revealed. 
For the general audience. 
(Producers Distributing — 6 reels) 

Desert Gold 

Directfd by diorge B. Seilz 

) Shirley Mason 
Robert Frazt-r 
i\eil Htiinilton 
iniliam I'fmell 
Novel by Zone Grey 

' I HE son of a wealthy man leaves New 
* York to seek his adventures in the 
golden west. Here he joins an old friend, 
and together they save the life of a girl 
whom they both love. The production is 
full of exciting moments including a land- 

For the general audience. 

(Paramount — 7 reels) 

The Devil Horse 

Directed by I'red Jacks'm 


Featuring \ Lady 

I The Killer 
Original screen story by 

Arthur T. Hankins 

I "HIS story will interest all lovers of 
'■ horses, the chief actors in the dram.i 
being horses. Rex, having been saved 
from the Indians when only a colt, grows 
up with a hatred for all Indians and with 
the wish to again see the boy who pro- 
tected him. Later Rex saves the lives of 
many people, including the man for whom 
he has been searching. He also saves the 
life of "Lady," his love, and kills the vil- 
lain, a bad horse named "The Killer," be- 
longing to the Indians. 

For the family audience, including chil- 

(Pathe — 6 reels) 

The Dixie Merchant 

Directed by Frank Borzaqe 

{Jack Mulhall 

Featuring | Madge Bellamy 

\J. Farrell MacDonald 
Novel, "The Chicken If agon Family" 
by Barry Benefield 

(~\L,D Jean Paul Tippany is a horseman 
^-^ who loves horses so much that he neg- 
lects wife and daughter and homestead tu 
the point where all his belongings are sold 
from under him. While gypsying along 
the roads of Kentucky they are met by 
the son of a wealthy horse owner who in- 
stalls them on his father's farm and 
promptly falls in love \\ith the daughter. 
The father's shiftless ways continue, how- 
ever until the girl and her mother leave 
him, he then wakes up to his responsibili- 
ties and races his horse to victory. An un- 
conventional story for horse lovers with a 
very pretty race at the finish. 

For the family audience, including young 

(Fox — 6 reels) 

The Devil's Circus 

Directed by Benjamin Christiansen 

!■ , ■ ( Norma Shearer 

r eaturing <„, , ,, , 

■^ I Charles Mack 

Original Screen Story by 

Benjamin Christiansen 

A COLORFUL story of intrigue and 
■'*■ passion under the flaps of a circus 
tent. A young girl comes to join a circus 
and is befriended by an apache thief. She 
also attracts the sinister attentions of the 
lion tamer whose wife has often had rea- 
son to be jealous. The war intervenes but 
after it is over the young apache seeks re- 
venge upon the lion tamer for having be- 
trayed the girl. Finding him a hopeless 
wreck he cannot raise his hand against 
him. He and the girl are re-united. 
F<ir the general audience. 

( .Metro-Goldwyn — 7 reels) 

The Earth Woman 

Directed by Norton Parker 

Featuring Mary Aldeii 

Orii/inal screen story by Norton S. Parker 

X/fFLODRAMA of the hardships of a 
^^ *■ pioneer woman, who revenges the 
death of her favorite son. Determined to 
save her drunken husband who has been 
convicted of the murder of the boy's slayer, 
the woman confesses but is saved by a 
half-witted boy to whom she is kind. 

The acting of Mary Alden is far above 
the average, and the story is interesting. 

For the mature audience. 

(Associated Exhibitors— -6 reels) 

Fifth Avenue 

Directed by Robert Vignola 

„ . ( Allan Forrest 

^'■'"•"■'"9 XMarguerite de la Motte 

Saturday Evening Post story by 
Arthur Stringer 

A YOUNG girl arriving, a stranger in 
•'* New York, is befriended by a charm- 
ing woman who cloaks her real purpose 
behind a gracious and cordial invitation 
for the girl to make her home with her 
until she finds work. Innocently the girl 
accepts this invitation and it is only her 
innate sense of right and her clean-mind- 
edness that save her from disgrace and 
ruin. Finally she is rewarded with the 
love of an honest and right-thinking man. 
For the family audience, including young 

(Producers Distributing — 6 reels) 

The Fighting Edge 

Directed by Henry Lehrmaii 

I Patsx Ruth Miller 
P^«t""ng XKenneth Harlan 

Novel by IVilliam M. Raine 

SMUGGLING aliens across the Mexi- 
can border is an exciting subject to be- 
gin with and when the story starts off with 
races, auto spills and disguises and con- 
tinues such thrills to the end, with plenty 

of good comedy added, interest never lags. 
And too there is a happy romance between 
a brave and charming maiden and a bold 
young government agent. 

I'or the family audience, including young 

(Warner— 7 reels) 

The Flaming Frontier 

Directed by Edward Sedgwick 

Featuring Hoot Gibson 

Original screen story by Edward Sedgwick 

' I " HE war between the white men and 
^ the Indians is the basis for this his- 
torical drama. At the close of the Civil 
War, the Whites are taking land from 
the Indians and the Red men are on the 
War path. A young man who is a friend 
of Custer is disgraced and forced to leave 
West Point for protecting the name and 
honor of his sweetheart's brother, a son 
of a prominent senator to whom scandal 
would bring ruin at that time. The brother 
is killed in the war with the Indians but 
he has sent a full confession to his father. 
The young man, cleared of the charge, 
wins the girl. The production is too long 
even though interesting. The Indians 
seem more like real Indians than they do 
in most pictures. 

For the general audience. 

(Universal — 9 reels) 

The First Year 

Directed by Frank Borzage 

Featuring \ ^"""'y"' ^"'''^ 

I Matt Moore 

Play by Frank Craven 

A N amusing comedy of the first year of 
•'^ wedded life. Matt Moore as the 
husband tries to shine as a business man 
while Kathryn Perry as the wife tries to 
be a successful housewife and hostess. 
They entertain the head of the firm in the 
midst of a domestic upheaval, and with 
the husband in danger of bungling his 
first business deal. After much agonizing 
and many humorous situations, all turns 
out well. 

For the general audience. 
(Fox — 6 reels) 

*For Heaven's Sake 

Directed by Sam Taylor 

Featuring Harold Lloyd 

Original Screen Story by Ted Wilde 

A ROLLICKING clean comedy of the 
■'^ usual Harold Lloyd type, with several 
new tricks. A millionaire, through a mis- 
understanding finds himself the benefactor 
of an East Side mission. Through his 
efforts the rough necks are brought to the 
mission, and the young man falls in love 
with the daughter of the man who runs 
the mission. 

F"or the family audience, including 

(Paramount — 6 reels) 


National Board of Review Magazine 

*The Great Love 

Directed by Marshall Neilan 

Featuring Robert Af/new 

Original screen story by Marshall \cilaii 

\A ETRO-GOLDWi'N has brought to 
■'• * ■'^ the screen a unique sex drama. The 
Great Love concerns a love-lorn lady ot 
large proportions and a struggling young 
doctor who has had no practice until the 
advent of "the lady." 

The circus comes to the small town and 
the lady elephant, pride of the sawdust 
ring, is taken suddenly ill. The young doc- 
tor is called on his first, and in fact, the 
biggest case the town has ever known. 
When the elephant is restored to health, 
the keeper tells the young doctor that the 
"old girl" will never forget him and that 
she will always love him. The keeper's 
word proves true and the "large lady" pur- 
sues the young doctor until because of his 
coolness and preference for a charming 
young girl of the village, she gives up the 
struggle, and bitterly bemoaning her fate, 
tries to drown herself but is rescued by 
her keeper. This is a good comedy of an 
unusual type and the acting of the ele- 
phant is most commendable. 

For the family audience, including 

(Metro-Goldwyn — 6 reels) 

His Jazz Bride 

Directed by Ilerinan Raymaker 

„ . S Marie Prevost 

^'''"'"■"'9 \ Matt Moore 

Noz'el "The Flapper If ife" by 

Beatrice Burton 

A YOUNG wife's extravagance in her 
•'* desire "to keep up with the Jones" 
leads the husband into indiscreet business 
deals. A tragic catastrophy brings the 
girl to her senses so that she sells her car, 
dismisses her maid and gives up her spend- 
thrift friends, finding contentment in the 
homely joys of caring for her husband and 
making a real home for him. 
For the general audience. 

(Warner — 7 reels) 

Ibanez' Torrent 
Directed by Monta Bell 

r, ■ S Ricardo Cortez 

reaturing -\ ^ , y-, , 

( (jreta Uarbo 

Novel by Vincente Blasco Ibanez 

TTWO young lovers are separated by the 
^ boy's scheming mother. The girl 
goes away to become a great opera singer, 
returning incognito after several years. 
The man she loved, now- a successful poli- 
tician, recognizes her by her voice and 
realizes what he has lost by not defying his 
mother and following the dictates of his 
heart. The lovers meet from time to 
time, and the picture ends on a mild note 
of resignation with the heroine following 
her career while her lover makes a mar- 
riage of convenience. The story preserves 
a European atmosphere in which parents 
still have the last say about their children's 

For the general audience. 

(Metro-Goldwyn — 7 reels) 


The Johnstown Flood 

Directed by Irviiuj (.'ii/niniiigs 

Featuring George O'Brien 

Original screen story by 

Edfrid Bingham and Robert Reid 

A THRILLING picturization of the fa- 
mous Johnstown Flood of 1889. The 
Hood is "reconstructed" with remarkable 
realism, vast bodies of water being re- 
leased with cumulative effect until we see 
a whole township engulfed with hundreds 
of people floundering in the water with 
their shattered houses and belongings 
floating about them. It is almost as good 
as the real thing and explains why the 
flood is still held in such dread memory. 
The story of the picture concerns a young 
engineer who makes a vain protest against 
the neglect of the dam by the supervisor 
who has been bribed by some lumber in- 
terests. A thrilling horseback ride is fur- 
nished by the heroine when she arouses the 
community as the dam is breaking. 

For the family audience, including 
young people. 

(Fox — 6 reels) 

Just Suppose 

Directed by Kenneth If' ebb 

r 4 ■ f Richard Barthelmess 

t eaturing i . . ,, 

( Lois moran 

Play by A. E. Thomas 
DRINCE RUPPERT of Koronia bored 
by the formalities and pretentions of 
his petty principality falls in love with an 
American girl. On a mission to America 
he accidentally meets her again and love 
proves mutual. He is recalled to assume 
the throne but his love prevails. Enter- 
taining youthful romance. 

For the family audience including young 

(First National — 7 reels) 

The King of the Turf 

Director James Hogan 

e, 1 Patsy Ruth Miller 

) Kenneth Harlan 
Original screen story by 

Louis Joseph I ance 
^-^ horseman and a bank president, un- 
justly accused of raising a note has to 
serve a term in prison. His daughter mean- 
while takes care of the horses, one of 
which is scheduled to w-in a race which 
will retrieve the family fortune. The 
colonel returns from prison bringing a 
young man with a trivial prison record 
who redeems himself by riding the horse 
to victory. He wins the daughter of 
the Colonel, whose honor has meanwhile 
been vindicated. Two splendid races will 
prove especially attractive to lovers of 

For the family audience including young 

(F. B. O.— 6 reels.) 

Ladies of Leisure 

Directed by Thomas Buckingham 

Featuring Elaine H ninnirrstein 

Original screen story by Albert Lewin 
A FROTHY, amusing comedy of a per- 
■"^ sistent flapper, who refuses to take 

"no " for an answer. An eligible bachelor 
flees to the African jungle to escape her 
wiles, but after she has with her persistent 
energy and optimism united her companion 
to her brother, she sets a trap for the re- 
turned bachelor and catches him. The pic- 
ture is full of action and laughter. The 
direction is good and the titles entertain- 

For the general audience. 

(Columbia Picture — t reels) 

*The Midnight Sun 

Directed by Dimitn Buchowetski 

Featuring Laura La Plante 

Original screen story by A. T. Younger 

A N American girl who rises to stardom 
■'*• in the Russian Ballet through the ef- 
forts of a Grand Duke, is nicknamed The 
Midnight Sun. Having become innocently 
involved with the Grand Duke, her fiance, 
misunderstanding the situation, gives up 
his position as guard to the Duke and he 
is court marshalled and ordered shot at 
daybreak. In the meantime, the girl has 
been kidnapped by the villain, a rival of 
the Duke's, and the Duke goes to her as- 
sistance. Realizing her great love for the 
young man who is to be shot, the Duke 
rushes to save him and blesses both of 

For the general audience. 

(Universal — 9 reels) 


Directed by Marshall Neilan 

c . ■ ' S Sally O'Neil 

reaturing t /-•l t nr 

( Charles Murray 

Original screen story by Marshall Neilan 

\ yf IKE is a happy-go-lucky story of rail- 
^^^ road life with a number of Marshall 
Neilan touches which often make it 
breathless entertainment. A girl named 
Mike is queen of an itinerant box-car 
apartment in which she rears a brood of 
motherless youngsters. She becomes inter- 
ested in a young man who has been wrong- 
fully outlawed by the railroad manage- 
ment for an accident which was really not 
his fault and her faith helps him to regain 
confidence in himself. The attempt of a 
gang of desperadoes to loot the railroad 
safe gives him a chance to prove his worth 
and incidentallv furnishes a thrilling climax 
to the picture when Mike's box-car apart- 
ment is turned loose on a down grade 
stretch in an attempt to wreck the express. 
For the family audience, including 

(Metro-Goldwyn — 7 reels) 

The Million Dollar Handicap 

Directed by Scott Sidney 

Featuring Vera Reynolds 

Novel "Thoroughbreds" by //'. A. Frazer 

nPHE rather stereotyped story of a 
^ Southern family threatened with ruin 
is told in The Million Dollar Handi- 
cap and as the name indicates, the family 
fortune is saved by their prize horse. The 
villain to get the girl in his power plots 
to discredit the jockey. The girl rides 

Miirvli A l>t il. S'iiii-tcfii Twenty six 

the horse and wins imt iml\ tlic race 
a husband as well. 

For the general audience. 
(Producers Distributing — b reels) 

*Miss Brewster's Millions 

Directed by (.'.lartinc Baitgtr 

Featuring Belx Daniih 

Novel, " Breustir's Alillions" by 
George Burr McCtitcheun 

POLLY Brewster, a poor movie e.xtra, 
is lett a million dollars by her uncle, 
with the stipulation that she must invest 
the money and not spend it. The diliicul- 
ties she has investing; the money to fjet the 
most fun out of it is well told in this 
comedy drama. 

For the family audience, including ycniiii; 

(Paramount — 7 reels) 

The Mystery Club 

Directed by Herbert Blache 

Featuring Mall Mwirr 

Novel by Arthur Sorners Roche 

SIX members of the arm chair club 
make an agreement to commit a crime 
and a forfeit is only to be paid if they are 
detected. One of the members secretly 
gets some of the inmates of his reforma- 
tory to commit the crimes, and after sus- 
pecting the youngest member of the club, 
the older man confesses the game and an 
explanation is made but the inmates of the 
reformatory fail to prove that a crook 
can go straight. 

For the mature audience. 

(Universal — 7 reels) 

I'm, and bcautitul shots iit sheep '.;ra/lng 

I'(ir the family aiuiii'iue uuliiiling ihil 

(Warner Bros.— 7 reels) 

The New Klondike 

Directed by Leivis Milestone 

r, f Thomas Meighan 

'"•"'•"■'"9 \LilaLee 

Original screen story by Ring Lardner 
T^OM KELLY, a big league player sails 

'^ for Miami, Florida, to join his team, 
onlv to find himself discharged through the 
jealousv of the dishonest manager. He 
tries his hand at real estate and takes his 
team into partnership when he meets with 
success. When he is trapped into buying 
a worthless swamp he suspects the girl he 
met and loved on the steamer, but later 
the misunderstanding is cleared up. A 
pleasant story with interesting picture of 
conditions in Florida. 

For the family audience, including 
young people. 

(Paramount — 7 reels) 

The Night Cry 

Directed by H. C_ Raymaker 

Featuring Rin Tin Tin (Dog) 

Original scenario by 

Phil Klein and Edward Meager 
A FAITHFUL shepherd dog is un- 
■'^ justly accused bv the neighboring 
shepherds of killing their sheep. The mas- 
ter has faith in him and prevents him be- 
ing killed long enough for him to discover 
and kill the real marauder, a sheep killing 
vulture, in an exciting fight. Entertain- 
ing story with a novel plot for Rin Tin 

The Non-Stop Flight 

Directed by Emory Johnson 

r ,;..„ 1 Skiles R. Pope and 

leaturing ,, ,, '^, , „ ,. „ 

I Otis Spuntz of the P.\. 9 

Original screen story by 

Mrs. Enielia Johnson 
A WAR melodrama of a purely fictitious 
•'' story built around the lost crew of the 
aeroplane P.N. 9. Apparently betrayed by 
his young wife, a Swedish sea captain be- 
comes a hater of all mankind. He plies a 
traiup steamer in the I'aciiic carrying con- 
traband coolies and drugs. Well paid by 
one of his passengers, a Chinese merchant, 
he seizes a beautiful girl, a castaway on a 
tropical isle, but he must take aboard with 
him the crew of the disabled aeroplane, 
that have found their way to this same 
island. When the old sea dog learns that 
the girl is his motherless daughter, a ter- 
rific battle occurs between the Chinese 
human cargo and the ship's crew, aided 
by the U. S. officers. While the fight is of 
the type dear to the hearts of movie fans, 
it is not made disagreeable by close-ups of 
injured participants. This picture has im- 
pressive and authentic war shots, beautiful 
pictorial effects, is full of action and move- 
ment but the story is unconvincing and un- 
worthy of the theme. 

For the general audience. 

(F. B. O.— 6 reels) 

The Phantom of the Forest 

Directed by Henry McCarthy 

r t ■ r> i Thunder 

teaturing Dogs -. j,,, ■ r, 

( IV mte t awn 

Original screen story by 
Frank Foster Davis 
T OST as a pup in the vast forests, the 
■' — ' Phantom grows up shy of man, al- 
though his presence is often felt by them. 
The conflict centers around oil discovered 
by the villain on a young woman's prop- 
erty. The Phantom, freed one day from 
a trap by the young woman and her neigh- 
bor, an oil operator, becomes their de- 
fender and the bad man's bitter enemy. 
At every turn, the Phantom foils the vil- 
lain, and in a spectacular forest fire, the 
dog rescues a baby from a burning log 
cabin. While the young man and woman 
have their romance, a delightful affair has 
developed between Phantom and White 
Fawn. In addition to the almost human 
understanding and acting of the dogs, the 
picture shows unusually good photogra- 
phy and artistic lighting. 

For the family audience, including young 

( Lumas Films — 6 reels) 

Queen o' Diamonds 

Directed by Jet If'ithey 

Featuring Evelyn Brent 

Orit/inal screen story by Fred Myton 

A CROOK melodrama well seasoned 

■''■ with Broadway theatrical life. Queen 

O'Diamonds is a fast moving photoplay 

with plenty of tlirills and adventure. A 
ihorus girl is induced by a gang of crooks 
to impersonate a Broadway star to whom 
she bears a startling resemblance. She 
becomes involved in a series of wild ad- 
ventures and innocently receives stolen 
di.inujnds. In love with a struggling 
young playwright, the chorus girl in the 
role of the star meets a great theatrical 
producer who accepts the young man's 
play, with her as the lead. She aids the 
police in arresting the desperate criminals. 
Kvelyn Brent does a good piece of acting 
in the dual role. 

l'"or the general audience. 

( F. B. O.— 6 reels) 

Rainbow Riley 

Directed by Charlie limes 

Featuring Johnny I lines 

flay. "The Cub." by Thompson Buchanan 
AS a cub reporter among wild feudists 

*■ in the Kentucky moimtains Johnny 
Mines capers through seven reels of ad- 
venture. His numerous attempts to 
"crash" in to the job of a reporter are 
humorous. At last he gets an assignment 
refused by all the other reporters and this 
leads to a series of exciting events, among 
them rescuing a beautiful school teacher 
who has been kidnapped. All the forces 
of the army and navy come to the young 
newspaper man's rescue. He and the girl 
are brought by aeroplane to the big city 
and the cub becomes a real reporter, 
sought not seeking. The situations and 
.actions are so grossly exaggerated that the 
film becomes a rollicking extravaganza. 
There are some beautiful outdoor shots. 

For the family audience, including young 

(First National — 7 reels) 

The Reckless Lady 

Directed by Hoivard Higgins 

1.^ , ■ ( Belle Bennett 

leaturing n. . ,, 

( Lois Aloran 

Novel by Sir Philip Gibbs 
A MOTHER has committed an indis- 
cretion from the consequences of 
which she must ever after shield her 
daughter. She leads a precarious life trav- 
elling on the Continent and supporting 
herself by gambling at Monte Carlo. Her 
past looms up dangerously when her 
daughter falls in love and her husband 
re-appears on the scene, but reconciliation 
follows. Appeal of sacrifice prompted by 
mother-love excellently interpreted by 
Belle Bennett. 

For the general audience. 

(First National — 8 reels) 

*Red Dice 

Directed by Il'itliani Hoicard 

Featuring Rod l.ii Ror/ue 

Novel, "The Iron Chalice." by 

Oclavus Roy Cohen 
A S'FORY of bootlegging and high- 
•'^ jacking. A young man returned from 
war, unable to make a living, sells his life 
to a bootlegger for a year of ease and 
luxury. Before the year is over, the young 


National Board of Ri:vii;\v Macazinu 

mail falls in love and decides to beat the 
bootlcjiKer at his own }j;anie. While he is 
hiph-jackin;; the warehouse in order to 
pay the bootlc);ger his debt, the police en- 
ter. Explanations are made and the younp 
soldier tinds happiness with the t;irl. The 
story is interesting and there is plenty of 

For the general audience. 
(Producers Distributing — 7 reels) 

acter types are shown in an unusual plot 
with a backgroiuid of line photography. 
I'or the general audience. 

(Paramount — 7 reels) 

Red Hot Leather 

Directed by Aljrtil Royell 

Featuring Jack Hoxie 

Oriffinal screen story by Alfred Roi/elt 

IN this western romance, a cowboy 
saves the old home ranch by winning a 
race which carried a thousand dollar purse. 
The horse is beautiful ami there is 
much fine riding. 

For the family audiriue. iEicludiiig chil 

(Universal — 5 reels) 

The Road to Glory 

Directed by HoiLard Hawks 

Featuring May McAvoy 

Original screen story by Howard Hawks 

JUDY is a favored child of fortune with 
a delightful father and a devoted swain. 
Suddenly tragedy stalks into her care free 
existence; her father is accidentally killed, 
and she is threatened with blindness be- 
cause of a bad spill in a wild automobile 
ride. Her fiance is injured in a terrible 
storm, and through shock or "something 
greater" she regains her eyesight and her 
faith. A storm of dramatic proportions 
is a feature of this photoplay. 

For the family audience, including young 

(Fox — 6 reels) 

*Rocking Moon 

Directed by George Melford 

J Lilyan Tashman 
''■"""■'"S XJ„h„ Bowers 

Sovel by Barrett H'illoughby 

D OCKING MOON is a beautiful 
^^ island in Alaska, where dwells a 
lovely maiden who breeds silver foxes to 
provide a living for herself. To the fair 
island comes a young man who helps the 
maid fight the man who is stealing her 
foxes. This is an interesting romance of 
moonlight and love fighting against greed 
and villainy. 

i'or the general audience. 
(Producers Distributing — 7 reels) 

The Runaway 

Directed by U'dluuii de Mille 

Featuring Clam Row 

\ovel. "Flight to the Hilts" by 

Charles Buck 
DO.MANTIC melodrama of the Ken- 
'■^ tucky hills. A Broadway flapper 
falsely believing she is under suspicion for 
murder flees with a mountaineer to his 
linme where she is sheltered by his mother 
and finds contentment. Interesting char- 


*Sea Horses 

Directed by Allan Dwan 

S Florence I'idor 

l<""urf>g XJack Holt 

Novel by Francis Brett Young 

A MOTHER of a small child, deserted 
by her husband, who has gone to the 
South Seas, is persecuted by his family and 
threatened with the loss of her child. She 
takes the child and goes to the island 
where she tinds her husband. Realizing 
her inability to cope with the beast her 
husband has become, she flees back to the 
ship and when he is killed in a fight, she 
promises to marry the ship's captain, with 
whom she has fallen in love. The inter- 
est is sustained throughout, and the ty- 
phoon is most realistic. 
I'or the general audience. 

(Paramount — 7 reels) 

The Seventh Bandit 

Directed by Seott R. Dunlap 

Featuring Harry Carey 

Original screen story by Hal Roach 

HEIR to the restlessness of a pioneer 
anccstory, the younger of two broth- 
ers hits the trail for Canary Bend, where 
he hears gold has been struck. His claim 
proves a "bonanza," but the boy is killed 
by a bandit leader who is jealous of the 
young man's attentions to his girl. The 
older brother turns bandit, and with sin- 
gle handed heroism captures his brother's 
murderer. The romance is furnished by 
his marrying a charming girl physician, a 
"pioneer in women's rights." The pho- 
tography is beautiful and there are some 
lovely outdoor shots. 

For the family audience, including yoimg 

(Pathe — 6 reels) 

The Silken Lady 

Directed by F.dgar Leivis 

\ Mahlon Hamilton 

'•'■"""■'"<' [Cladys Hulrtte 

Original screen story by Edgar Lewis 

TWO people, who are antagonistic to- 
ward each other, are shipwrecked 
two hundred miles from the nearest city, 
and during their journey on foot they 
come to a full understanding. On the 
ship returning to England they discover 
they have fallen in love with each other. 
The story holds the interest and the pho- 
tography is fine. 

lor the general audience. 

(Arrow — 6 reels) 

The Shadow of the Law 

Directed by Wallace H'orsley 

Featuring Clara Boiv 

Novel "Two Gales" by Henry ('. Ford 

A YOUNG girl does time on Black- 
•'»• well's Island for a crime she has not 
committed. On her release she goes to 
Eos Angeles and there, with the help of 
her father, who has been caught in the 
toils of a gang of crooks, and assisted by 
another crook, she proves the old adage 
"it takes a crook to catch a crook." The 
man who had sworn falsely against her in 
New \'oT\i. gets his just deserts. The 
girl's name being cleared by the confes- 
sion of a young crook, who repented on his 
death bed, she marries a wealthy yoimg 
man with whom she has been in love for 
some time. 

For the general audience. 

(Associated Exhibitors — S reels) 

Sir Lumberjack 

Directed by Harry G arson 

Featuring "Lefty" Flynn 

Original screen story by I'ictor Gibson 
DILL BARLOW, son of a wealthy lum- 
^— ' her king, is sent out west to his 
father's lumber camp. Enroute he is held 
up and stripped of his clothes by some 
hoboes and when he arrives, nobody will 
believe his story. Forced to work as a 
laborer, he gets on the track of the dis- 
honest foreman who is plotting to cheat 
the company of some valuable holdings 
which are involved in a mortgage. Bill 
borrows the money and beats the foreman 
to it in paying off the mortgage. 'Fhen he 
sells the property to his own father, much 
to the hitters satisfaction. Clean, refresh- 
ing story. 

For the family audience, including young 

(F. B. O.— 5 reels) 

A Social Celebrity 

Directed by Malcolm St. Clair 

Featuring Adolph Menjou 

Original screen story by 

Monte Katterjohn 

A COMEDY of a small town barbei', 
the best in town, who goes to New- 
York to please his sweetheart but returns 
home just a barber. The girl after danc- 
ing in a night club in New ^'ork, is glad 
to return to the small town with her bar- 
ber-lover. The story is full of humor and 
the acting of Adolph Menjou is far above 
the average. 

For the family audience, including chil- 

( Paramount — 6 reels) 

The Soldier Man 

Directed by Harry Fdiiards 

Fenlurina Harry Lnngdon 

Orii/inal screen story by Arthur Ritley 
and Frank Catra 

THROUGH three rollicking reels, a 
soldier of the A. E. F. dreams of im- 
possible and ridiculous experiences on the 
deserted battlefields following the war. 
and of stumbling into an imaginary Bal- 
kan Kingdom iiefore he is awakened from 
his slumbers by his wife to join his regi- 
ment for a parade on the avenue. 

I-"or the family audience, incliuling chil- 

(Pathe— .^ reels) 

Miirch-AprU. yincliiii Twiiity-six 

The Song and Dance Man 

Dirtilnt h\ Ilirhnt Hrciioii 

\ Malt Miiorc 
I' '"I •'•■in a I B^„,V z^,,,.,. 

Play by Gt-nrgf M. (Julian 

A N appealinj; story concerning a sons; 
■'^ and dance man who is given another 
chance when he is cauiiht in a halt-hearted 
hold-up which he attempts when hroke 
and starving. He is not a success in his 
try-out but a little vaudeville dancer whom 
he has befriended is made a star. Al- 
though he makes a success in business, the 
lure ot the stage gets him again. True to 
life picture of the stage with a skillful 
blend of pathos and humor. 

l-"or the family audience, including young 

(Paramount — 7 reels) 

Tramp, Tramp, Tramp 

Directed by Harry Edwardt 

l-'tuturing Harry Langdtii 

,,.. , , \ Frank Caprice 

Original screen stiiry t>\ . , , ,, 

■^ ■ ( and others 

A COMKD^' drama of a young man who 
'*• enters a cross-country walking race 
to advertise a brand of shoe. Encounter- 
ing many ditHculties, the young man finally 
wins the race, thereby getting money to 
help his poor old father and the girl. The 
comedy is clean with many high spots of 

I'or the family audience, including chil- 

(First National — 6 reels) 

I'latiirini/ . 

Soul Mates 

Directed by J'nk Cmnuay 

I Aileen Pringle 
I'-afK-o^g I Edmund Uu'e 

Novel, "The R(as<jn Why." by 
EAinor iilyu 

A POOR scion of the nobility faces a 
■'*■ situation where he has to marry a 
certain lady for her money. Luckily he 
has just met and fallen in love with 
her without knowing who she is. When 
she discovers the financial condition of 
his wooing, she of course refuses to be- 
lieve in his disinterested love. However, 
he proves to be a persistent lover and that, 
according to the Elinor Glyn formula, is 
all that is necessary if the gentleman is 
handsome and the lady romantic. An en- 
tertaining love story told with restraint. 
For the general audience. 

( Metro-Gold wyn — 7 reels) 

Watch Your Wife 

Dirrclcd by Svcnd Hade 

i Pat O'M alley 
I I iri/inia I alli 

Original screen story by (josta Seijeranz 

THE domestic troubles of a young 
couple are depicted in this photodrama. 
Unable to get along without quarrelling, 
they finally part only to realize that they 
still love each other. After many trying 
experiences they come together again. The 
picture holds the interest but the title 
seems inappropriate. 

lor the general audience. 

(Universal — 7 reels) 

Two Can Play 

Directed by \al /\ ov.v 

Eeatnrin// Clara II air 

Saturday F.venini/ Post story by 

Gerald Myi/att 

I "HE romantic young girl, of this story, 
■'■ is placed upon a deserted island with 
t\M) men so that she may learn that the 
man she loves is inferior to the man of her 
father's choice. The bright idea is her 
father's and would be all right were it not 
for the fact that the experience proves con- 
vincingly that the man she loves is far 

For the general audience. 
(Pathe — 6 reels) 

Too Much Money 

Directed by John Dillon 

. f Anna Q. Nilsson 

Feafri'iff } Leicis Stone 

Play by Israel Zangu'ill 

T^HIS photoplay shows a fresh handling 
*- of the old theme that riches do not 
necessarily bring happiness but often un- 
dermine it. Here we have a wife and hus- 
band whose wealth and the social responsi- 
bilities W'hich it entails give them no time 
for each other. As they drift further and 
further apart, the husband and a friend 
of his hit on the scheme of pretending that 
he has suddenly become bankrupt. He 
signs over all his possessions and starts 
life with his wife in a poor tenement pre 
tending all the time that he is looking for 
a job while as a matter of fact he lounges 
at his club on the money his friend doles 
out to him. The wife meets the test 
courageously hut the friend proves false 
and tries to abscond with the money. The 
deception is later discovered by the wife 
who forgives her husband and helps him 
to recover his money. 

For the family audience, including yovuig 

(I'irst National — 8 reels) 

Under Western Skies 

Directed by Edu'ard Sedgwick 

Featuring Norman Kerry 

Original screen story by Edivard Sedgwick 

*^ mance of the great Western wheat 
fields. A wealthy young spendthrift fired 
from his father's office goes West to seek 
his fortune. Out in the great open spaces, 
he discovers two things: — first that his 
father is trying to get the wheat monopoly 
thus ruining an old man who is dependent 
on his wheat crops for his living; second, 
that the old man has a charming daughter. 
Under another name, the young spend- 
thrift starts in to tight for the old man 
against his own father. He secures the 
rights for the old man, obtains his father's 
respect and wins the girl. 

For the family audience, including young 

(Universal — 7 reels) 

Whispering Smith 

Directed b\ E. Mason Hopper 

[H. B. H'arner 

Featuring \ Lilyan Tashman 

[John Boiccrs 

Noiul. '"Flic Open S^i'itch," by 

Frank H. Spearman 

representative of a Western rail 
road, goes out to catch the robbers and 
help get the railroad opened up. 'l"he 
story is interesting. 

For the general audience. 
(Producers Distributing — 7 reels) 

The Untamed Lady 

Directed by Frank 'Fullh 

Featuring Gloria S^ianson 

Original Screen Story by Fannie HursI 

A MODERN version of "The Taming 
of the Shrew" theme. A young man 
very much in love, finds it difficult to tame 
his fiance who, with plenty of money and 
no parental restraint, goes her own gait. 
When she nearly loses her fiance, she 
realizes how utterly selfish she has been 
and then onlv does she submit to the tam 

|-'(U- the general audience. 

(Paramount — 7 reels) 

White Mice 

Directed by E. H. Griffith 

\ Jacqueline Lngan 

'■'<■"""■•"" ] iniliam Powell 

Novel by Richard Harding Datif 

A DVENTURE and romance in .'. 
■''■ imaginary republic of South Am: i 
ica. The spendthrift son of an -A 

is sent by his irate father as fon 

supervise lighthouse building in Monte- 
bello. He finds the Republic seething with 
factional fights and as a menf;ber of tht 
White Mice, a Life Saving Society sets 
out to save the imprisoned Presidente. In 
this he is successful as well as in winning 
the lovely daughter. 

For the family audience, including young 

(Associated Exhibitors — 6 reels) 

The Yankee Senor 

Directed by Emniett Flynn 

Featuring Tom Mix- 
Novel "Conquistador" by 

Katherine Fullertou Geronld 

TOM starts of? on a plot which involves 
some Mexican raiders with a myster 
lous leader who turns o\it to be the \in 
worthy son of a rich Mexican aristocrat. 
■|"om learns that he is the unrecognized 
grandson of the same aristocrat, whose 
favor he soon wins. An inevitable rivalry 
between the two men ensues which ends 
only when the renegade son is exposed. 
Fom throws over an insipid fiancee from 
the East in favor of a fiery little Mexican 
senorlta and all ends well. The picture is 
notable for some stunts by "Tony," Tom s 
trick horse. 

l'"or the family audience, inchidlng 

(Fox — S reels) 


The National Board of Review of Motion Pictures 

Through its BETTER FILMS National Council and Department 

composed of 

Associate and cooperating members and Affiliated Better Films 
Committees throughout the country, is — 

T?NL'(JU K.\( 1 1 X( i a study t»f ihc niolinn ijiclurc as a niediuni of 
entertaiiuiR'nl, iii.slnictit)n and artistic expression. 

"DKlXlilXO to the attciitiiiii nf the puhlic the belter |)ictures, 
classified accordins^' to their l\pe-(it'~audience ( a^e and group) 
suitability, and cooperating with the exhibitors in encouraging 
support of the finer picttu'es. 

17 Ml'lIASIZlNtj tlie fact that the majority of motion pictures 
are not made for children, but that the motion jMcture is a form 
of entertainment directed at its fullest expression toward mature 
audiences, and must be encouraged as such if its highest artistic, 
entertainment and educational possibilities are to be realized. Rut 
also recognizing the fact that certain films are definitely suitable 
for boys and girls, and sponsoring selected programs for Junior 

T^ .S'r.\r,|.ISllIN(; in the minds of the public the fact that the 
only fair and e<Tecti\e way nf bringing |)ublic opinion to aid 
socially in the entertainment, artistic and educational development 
of motinn pictures is through the constructive methods of the 
Better Films movement — namely, selection and classification, and 
enlisting cnninuuiil} sui)pi)i't of ihe better pictures. 




Vol. I, No. 2. 


The Little Motion Pieture 

Problems of Teehnique 

— *■ — 

The Cornniiinity and the 
Motion Picture 

Technicolor Motion 

May-June 1926 


Published by the 


10 cents a copy 

Established by Ihe People's Institute in 1909 
70 Fifth Avenue, New York, N. Y. 

$2.00 a vear 

Contents for May -June, 1926 

Special Articles 

luiitorial, 'I'lic I.itllc MdiIoii Picture 'llieatrc. . .^ 

rroblcms of 'rcchiiiquc in Cnmmercial Motion 

Picture Production Ralph Bloik 4-6 

'I'hc Communitv and tin- Motion Picture 

Juliii L»vi-j'i\ EUiull 7-9 

Technicolor Motion Pictures 

J. Mtlviii Aiidrciis 12 
National Organizations Adopt Motion Picture 

Programs 13-14 

Better Films Service 15 

Motion Pictures with Patriotic Themes 16 

The (ireater Glory 

Exceptional Photoplays 


The \'ision 


Selected Pictures Guide 


Aloma of the South Seas. . . 

The Bat 

Broadway Gallant 

Brown of Harvard 

'I"he Cohens and the Kellys. 

riic Dice Woman 

Dude Ranch 

Ella Cinders 

I'^iscinatin;: 'I'outh 

(ilcnister of the Mounted.. . 

Hard Boiled 

Hell Bent Fer Heaven 

Her Big Night 

High Steppers 

The Love Thief 

The Luck\- Lad\- 

.Men AVomen Lo\e 

.Mile. Modiste 

18 Oh Baby 

18 —Old Loves and New 

18 The Old Soak 

18 Paris 

IH Ranson's Folly 

18 Rolling Home 

18 Say It Again 

18 The Shamrock Handicap. 

19 Siberia 

19 Silence 

19 Silken Shackles 

19 Sparrows 

19 That's Mv Babv 

19 Tony Runs Wild 

19 The L'nknown Soldier. . . 

19 The Volga BoatmaQ„ . . . 

19 WeTFaiiit'. . .. 

19 The Yellow Back 

Son-Feature Subjects 

Canary Islands 

The Doctor 

Heroes of the Sea 

Jack of One Trade 

Keeping in Trim 

Pathe Review No. 15 to No. 24. 

'I'he Planting Season 

The Range 'Ferror 


Revolutions Per .Minute. 

Songs of Scotland 

Sweden 'Foday 

The Trail of the Gods. . 

The Vision 

Wild America 

Wonders of the Wilds. . 

Short Comedies 

Animated Hair Cartoon 


Buster's Sleigh Ride 

Dinky Doodle in the Wild West. 

Eight C>linder Bull 

Felix the Cat Misses the Cue. . 
Felix the Cat Uses His Head.. 
I'rom A to Z in I'ilmdom 


His Private Life 

Love's Hurdle 

The Merry Widower.. . . 
Mighty Like a Moose. . . 
The Prodigal Bridegroom. 
Rah! Rah! Heidelberg.. 
\\\\\ George 




Ciipyrii/hl 1926, The \'ati<,ii,il Rmini 'il Rivietc of M'llinn Pi, lures 

National Board of Review Magazine 

Associate Editors: 
Allred li Kuttner 
Wilton A, Barrett 


Associate Editors 

I "ranees C, Barrett 

Bettina Gunczy 

The Little Motion Picture Theatre 

N 1922 the National Board of Review 
hrst broached the ii.iea ot showing; pic- 
tures ot unusual artistic merit tor special 
audiences in a chain ot small motion pic- 
tiire houses throughout the country. 

This idea was born as the result of the remarkable 
success which had attended tl'ie showing ot a number 
of exceptional pictures at Town Hall under the 
auspices of the Board. Then too the publication of 
ExcKPTiON'Ai. Photoplays, the bulletin which re- 
viewed and recommended many pictures distinguished 
for their originality and artistic treatment only to find 
that they frequently were not ever released for pub- 
lic showings or were comparative failures with popu- 
la'- audiences, had brought up the problem of finciing 
the smaller public which would rally to pictures of 
this type. 

For a solution of this problem it was only natural 
to turn to the Little Theatre movement which had 
succeeded in partly solving a similar difficulty for the 
stage. Here the question was to provide an outlet 
for dramatic experiments and revivals which could 
not hope to prosper immediately on the commercial 
stage. A further object was to create an audience as 
well as to encourage it to participate in the activities 
by releasing latent amateur talent both in acting and 
in writing. 

The success of this undertaking is now a matter of 
common knowledge. The small theatre movement 
has fostered many a fledgling dramatist and devel- 
oped scores of actors and directors. It has had a most 
stimulating influence upon the commercial theatre 
and has done much to correct the besetting fallacy of 
play and picture magnates alike — -the underestimating 
of the intelligence and receptivity of the public. 

The difficulties in the way of a similar movement 
in motion pictures were and are, of course, much 
gi eater. Pictures cannot be created and put on by 
small groups as in the case of plays. The technical 
and financial problems involved are infinitely greater 
and more intricate. The more immediate objective 
would be to organize special audiences all over the 
country whose interest could be aroused by special 
showings. As these audiences become more articu- 

late in their tlemand for artistic pictures the induce- 
ment to make pictures (jf this sort, either on the part 
()! the inilustry or by C()operati\'e studios entlowed 
or supported by these same audiences, might in time 
become compelling. 

In view of the many difficulties the idea was at 
first put forth as little more than a pious hope. An 
editorial in EXCEPTIONAL PHOTOPLAYS said: "But 
perhaps we are indulging in a dream, for the artistic 
tuture of the screen depends upon the growth of al- 
truism on the part of those not primarily interested 
in pictures as a business." 

That was only four years ago. Since then things 
have happened which might well confute pessimists. 
A^n extraordinary interest in special showings has 
manifested itself. The most notable instance perhaps 
has been the pictures shown by the International Film 
Arts Guild at the Cameo Theatre, New York City. 
This organization has recently presented a revival of 
most of the artistic pictures, both native and foreign, 
made in the past ten years, as well as many recent 
experimental films. The audience response has been 
most satisfactory and it seems probable that the 
Cameo theatre will become a permanent repertory 
film house. The Film Associates, Inc., at 66 Fifth 
Avenue is planning a similar program for next year. 
Meanwhile various Better Films groups such as those 
at Jacksonville, Florida; Rutherford, New Jersey, and 
Atlanta, Georgia, have had special showings of pic- 
tures and have done notable work in creating an 
Interest in pictures like Moaua and Grass. 

All this is very gratifying. The first step, that of 
creating special audiences for exceptional pictures is 
already well under way. European studios in Sweden, 
Germany, and France are being combed for addi- 
tional material and dusty tin boxes in our own film 
storages are being re-opened in something of the 
spirit of ardent discoveries. If there is anything at 
all in the theory that demand leads to supply, the 
second step, that of making artistic pictures for 
special, appreciative audiences Is perhaps not so 
much further off as the first step was thought to be 
four years ago. 

— Alfred B. Kuttner. 

Problems of Technique in Commercial 
Motion Picture Production 


Mr. Block, ivlio delii'ered this addn'ss liejure the 
National Heller Films Confrroirc held in .Xca- York 
Cily, is superivisiny cdilor of ihc Famous Players- 
Lasky Corparalion. .Ifler t/radiialiuc/ from the I'ni- 
1-ersity of Mitliicjaii, Mr. Block spent eicjlit years in 
.American jonriialism, on llie slaff of llic "Louisville 
Courier Journal, Delroil Nezis, Kansas Cily Star, 
A <'Ti' York Sun" and lius dramatic critic of the "Xeii 
York Tribune," 1917-18. f!c imide his entrance into 
the motion picture field in 1919 -ivhen he accepted the 
position of adiertisint/ and publicity manayer of 
Goldicxn Pictures Corporation. In 1922 he joined the 
Famous Plaxers-Lasky Corporation, beiny manayiny 
editor of the Story department for a couple of years 
before assuminy the super-eisiny editorship of this 
corporation.— Ti]v. I'.IMTOR. 

THIS Conference represents one p;irticular siile 
ot an effort to further the progress of the mo- 
tion picture, tliat is through the awakening and 
development of audiences. Yet I hesitate to discuss 
the progress and future of the motion picture without 
trying to ohtain a common understanding of what 
progress in the motion picture would amount to. 

Mv experience is that those persons who are inter- 
ested in the improvement of the movies do not always 
want the same kind of improvement. Some of them 
feel that the movies are artistically had in the techni- 
cal elements of what we call art. That is to say, they 
feel that the acting is not subtle enough, or sufficiently 
well defineii. That the lighting is too literal and not 
sufficiently suggestive. That the general decorative 
quality,' meaning the background, composition and de- 
sign of settings, is vulgar, ostentatious rather than I'c- 

There is another group ot critics whose criticism 
penetrates In another direction. They teel that the 
motion picture is entirely on the w rong track in trying 
to pin its expression to the kind of stories it tells. 
They feel, fo!" instance, that the essence of the mo- 
tion picture art is motion, and therefore to tell in 
dramatic form stories which have already been createil 
originally for some other kind of expression, such as 
the theatre and the novel, is to force a motion picture 
camera to assume a secondary position in the arts. 
These critics point out fliat the camera lias a (]ualitv 
and genius of its own. and that life should he seized 
by it purely within the limits of its own capacity. 

A third group of critics, which is perhaps by far 
the largest, looks askance at the morality of what is 

[old upon the screen, and although the point of view 
held in this group varies from side to side, yet it is 
generally a point of view which is uneasy about the 
moral taste ot those who produce motion pictures. 

I'or our convenience I will state simply my own 
point of view towanl the motion i:)icture, and al- 
though you may disagree with me, it will be, 1 hope, 
of some value for you to hear the attitude of one 
who has spent a number of years in motion picture 
production, and who has trieil to maintain a critical 
perspective toward it. 

First of all, I want to state my understanding of 
what I mean by tlie word "artist." A true and last- 
ing artist is ne\er particularly a propagandist in be- 
half of anything, except his own philosophic feeling 
about life. It is more or less a truism to say that any 
expression in which propaganda for a contemporary 
idea outweighs the creati\e and imaginary quality of 
the expression, does not last. In other words, times 
and events change, but man's human nature remains 
constant throughout the ages. Ilie great artists of 
history ha\e always been men and women who ha\'e 
tried to penetrate to some essential truth about human 
existence. They ha\e always had tlic greatest rever- 
ence for what we may call absolute truth, but in their 
reverence tor it, they ha\e always understood that 
niorallty is a changing thing, ami that while it may 
he painful to strip the \-eil from the absurdities, vul- 
garities and horrors ot life, it is more sanitise for 
man to know the truth about himself than to be de- 
ceived about himself. 

Do not teel that what I am saying is a preliminary 
to an apolog)- for the vulgarities of many mo- 
tion pictures. Licentious journalism can never be 
compared to the satire and irony of a great artist, and 
I must confess that much art of the motion picture of 
the past, which attempted to survey the follies of 
contemporary life, could only be termed mere Jour- 
nalism. What I am trying to point out, however, is 
that an art of the motion picture which would be so 
pure as to he harmless to chililish minds, wouKl also 
he so infantile in its character as to be stupid. My 
own iileal of the great motion picture creator is one 
who sees interesting aspects of life, aspects that re- 
seal the length, and breadth and height of man's ex- 
istence in specific terms of human nature, and who is 
powerfully equipped by skill, experience and imagina- 
tion to use the camera in its revelation. 
There never has been to me any real contradiction 

.Miiy-Jiiiif. \iiitlieii Tufiity-six 

between ethics and esthetics. Alter all, art is a mat- 
ter finally of discretion and taste, and in the end mor- 
ality comes down to the same thing. To live greatly 
is itself an art, because it draws on the same fresh- 
ness of the spirit, courage and power to impose a 
pattern on life that marks the mind of the great artist. 
I am going into this general tliscussion of esthetics 
and morality, because it is toward a standard of this 
kind that the motion picture must move in its prog- 
ress. You are all probably aware that two men of 
different character, one low and base, and the 
other high and noble, might both tell the same story, 
the same at least in the elements of character and 
dramatic plot, and yet the effect of one would differ 
entirely from the effect of the other. It is not there- 
fore the stories which have to be changed, but the 
point of \^iew of those who produce them as motion 
pictures. The motion picture as an art does not de- 
pend so much upon the development of further me- 
chanical technical facilities, as it does upon a greater 
imaginative integrity on the part of those who pro- 
duce them. Happily, as we look around tlie studios 
today, we find them filled more and more with young 
people from the schools and colleges, with a vision 
of beautv and Iionestv, which is bound to creep more 
and more into the pictures with which they have to do. 

POSSIBLY all those wlio are critics of the motion 
picture would agree that progress for the mo- 
tion picture depends on whether all the human be- 
ings involved in it can catch up with the best social 
intelligence of the time. But please believe that all 
the human beings involved in the motion picture doer, 
not merelv mean those who are engaged in its creation 
and exhibition. \o art exists without the presence of 
an audience — the emotional and intellectual relation 
between the w'ork and its audience is an important 
part of that process which we call art. The respon- 
sibility for a finer art of motion rests as heavily on 
those who participate in its effect as on those who par- 
ticipate in it as a cause. The production of motion 
pictures is a costly matter, and its continuance must 
rest upon a firm economic foundation. The audience 
which determines its foundation also determines by 
the level of its taste and intelligence and the quality 
of its receptivity the kind of motion picture w^hich it 
is to receive. There is no lack of desire on the part 
of the experienced producer to lift this level and 
thereby gain the prestige and acclaim of those who 
recognize excellence when they see it. But experiment 
in the motion picture is more costly than it is else- 
where in the arts. The producer deals in such large 
sums that he is not only responsible to his own artistic 
conscience but to his economic one, which is a collec- 
tive one representing hundreds of investors. He must 
therefore have some previous assurance in the good 
will and devoted interest of his audience before he 

\ cntures his shiji on the uncharted seas of public at- 
tention. I once spoke to an audience on "the Respon- 
sibility of .Audiences to Their Movies." I found when 
I had finished that while my audience was all too 
willing to raise the cry of cheapness and lack of artis- 
try in the films, it resented my charge that audiences 
tlicmselves were responsible for what they were get- 
ting, and felt insulted that I should assume that they 
had an equal part with the producer in saying whether 
the films should be on a ]()\y lc\cl or a high one. 

APART of what T have saitl to you is platitudinous. 
But I am restating these facts as a prelude to the 
main subject on which 1 have been asked to speak to 
you. There are technical problems in the making of 
motion pictures which depend on nothing except the 
limit of the resources of the producer. There are 
problems that have to do with equipment, expert 
craftsmen in all the departments of production, the 
handling of lights, the camera, the film, the million 
facilities which aid in creating the superb mechanical 
product we see on the screen today. But in speaking 
to you I prefer to believe that you are not interested 
so much in these elements as in those having to do 
with the human and creative factors involved. I am 
addressing myself therefore not to technical problems 
so much as problems of technique, which is in all the 
arts the basic alphabet by which the content of an art 
is expressed to its audience. It is the consideration of 
this problem which brings us back in a circle to the 
pudience, for it is the audience which determines 
v.'hether our technique shall be subtle or broad, 
v>-hether it shall express profoundly or superficially, 
whether it shall view life honestly or falsely. 

It is in France where all artists are great stylists 
that it was said that "The style is the man," because 
the true and unimpeded style of any expression — of 
v.hich the technique is an inseparable part — expresses 
profoundly the character of its creator. 

The technique of a motion picture is not, however, 
bound up so simply in the character of one person. It 
involves the actor, the writer, the director and the 
producer — even the scenic architect and the camera 
man. But all these are truly bound up in one mechan- 
ism which has created the art of motion and to which 
we must look in estimating the quality of the art we 
are studying. That mechanism is the camera. 

By itself, the camera is a conscienceless and uncon- 
scious instrument, performing its liuty only according 
to the imagination and intelligence behind it. In the 
early history of the motion picture camera, both cre- 
ators and auditors were so preoccupied with the magic 
of motion itself that they did not discern that here 
they had an eye to look at and record all the follies, 
the frailties, the oddities, beauties and benevolences 
of human nature. It was then useii crudely, without 


selection. Indeed, wliile tlie instrument was then not 
the splendid instrument of today, everything near it 
was cruder than it was itselt. The pantomime of the 
actor was so inexpert, so inaccurate, so poorly im- 
agined that pictures of that day shown to us today 
arouse only laughter. Tiie stories were wretchedly 
and naively concci\ed, without well thought out struc- 
ture of plot and careful dramatic development. The 
cliaracterization of its human elements, and of times 
and places, was careless and false. Tliere was little 
taste shown on the part of anyone or understanding 
of the divine possibilities of the art of motion. Light- 
ing was flat — a conception of the emotional values 
of light had not yet arrived on the scene. But above 
all, there was no understanding of iiow the camera 
might be used to concentrate on an important element 
ol the story, excluding for the moment everytliing 
else. The closeup was the first step in this direction, 
the first diin realization that the camera might be 
used as a great lithographer uses a crayon pencil, 
sketching lightly here, with swift silken strokes there, 
shading heavily here, rounding out masses there. 

Please do hot take my metaphor too litcrallv, for 
while the camera has great graphic power to present 
tlie beauty of things, moving backgrounds, landscapes 
that fly past as swiftly as planets, yet it is in the hu- 
man panorama that my greatest interest lies. And 
it is there that yours should lie too, because the basis 
of drama is character. Without greatly drawn hu- 
man ciiaracter there can he no drama. The substance 
ol drama is conflict, and conflict can only be between 
dissimilar things, and of all things that are dissimilar, 
human beings are the most. There are no two alike 
in the world, and two face to face, without a word ut- 
tered, create a potential drama. 

IN the few years that have passed since the early 
days of the motion picture, the camera has been 
mechanically improved. New devices have been added, 
lenses that will focus more sharply or that will allow 
only so much light to filter to the celluloid as will give 
the resultant picture a film like silver mist. Devices 
have been added which will dissolve a scene slowly 
before your eyes, giving it a quiet and slow termina- 
tion of fading into another without shock or abrupt- 
ness. A new camera has been invented recently, used 
notably in the German made picture "The Last 
J.aiigli," a great work of art, which will allow the 
camera to move from one place to another, carried 
on the body of tlie operator, without destroying the 
steadiness of the film and without impairing the qual- 
ity of the essential light it receives. The effects pro- 
diiced by this camera are wonderful and Inspiring. 

But the point T wish to make Is that not any of the 
mechanical developments mean anything without vi- 
sion and imagination behind them. after the 
camera had reacheil a point where it was near its 

manhood, directors and actors and writers still had to 
harn of its great potential power for the exploration 
ol the human sou! and the scene of Its action. 

Tl II . great lesson that motion picture directors had 
to learn was that a motion picture, to be within the 
true limits of the art of motion, was not necessarily 
an Illustrated story book, with the editorial matter 
pt-inted in titles. It took them long to understand 
that the camera itself should tell the story, a great 
;;nd all seeing eye, which should be yours, belonging 
to you the audience, and in the finished picture leap- 
ing, whirling, striding, moving slowly and swiftly 
trom man to man and place to place, revealing the 
secrets ol the eye, muscles of the face that twitch 
with anger, purse with pride, droop witii suspicion, 
caress with love. It siiould reveal the beauty and 
plasticity ol the human body, the wonder of Its re- 
sponse to the thousand complex emotions and thoughts 
ol human kind. .\nd all this sliould tell a story, blend- 
ing into the beauty of settings, laughing at human 
frailty, slyly exposing foibles, but disclosing, too. 
strength, devotion, ardour and nobility. 

It Is a strange commentary on human progress that 
it often comes about by accident rather than by hu- 
man intention. .\ means is discovered without an 
eiitl, atul mankind. Inventive rather than noble, fits 
nil cjiil to It that produces nobility and beauty. It 
is the camera which will produce great motion pic- 
ture directors and great actors. The fascination of 
the instrument is too great to be withstood, and al- 
ready young men and women are understanding more 
and more what the camera demands of them If they 
\^ould make It do Its greatest magic. In this connec- 
tion I should like to pay a tribute to two great artists 
of the camera whose work In the days of the future 
will be regarded as landmarks In the progress of the 
motion picture. One is Chaplin. The other is Lu- 
bitsch. Chaplin Is the motion picture incarnate, not 
merely an actor but a living sign of the rhythm of mo- 
tion, the power of plastic lines to produce emotional 
effects. He is actor, creator anil director all In one. 
No other two men could be so diverse and still each 
have so much to give. Chaplin, with little sense of 
color, of lighting, of the finer shades of the camera, 
is still the greatest figure the motion picture has pro- 
duced. Lubitsch has everything Chaplin lacks and 
undoubtedly more than any other man knows how to 
make the camera dissect the tissues of human exist- 
ence. It is tiie vitality of men of this kind which has 
I'rought about the emergence of actors like Adolphe 
Menjou, acute, intelligent, sensitive, understanding 
both consciously ani.1 intuitively the projection of hu- 
man emotion and the depth of the art of pantomime. 
It Is the example In subtlety of men of this stamp 
{Conlhuied on pacje 12) 

The Community and the Motion Picture 


Dr. Elliott, zcho delivered this address before the 
National Better Films Conference, is head zvorker of 
the Hudson Guild and President of the United N eiyh- 
horhood Houses, \ew York City. — The Editor. 

I have a very good idea of wliat 1 myself want 
from the moving pictures and what I imagine 
most of the social workers want: two things. 
First, that our neighborhood should have the 
opportunities for seeing the right kind of films; and, 
second, the use that we can make of the motion pic- 
ture in our own places, in our own neighborhoods. 

You may think I am fantastic, but I am convinced 
that I am right and the truth is often fantastic, isn't 
it? 1 think that the bottom thing that the average hu- 
man being wants is what he calls under a good many 
different names, but the largest and best classifica- 
tion is some kind of adventure and romance. It is 
funny how dumb scientists are when they think the 
human being wants the truth. You know why most 
people go to the motion pictures is to escape the truth. 

The desire to escape facts is the big thing. Why 
did the saloon have its big hold? Why by putting 
your foot on the rail, with ten cents you could forget 
life, and that was the grip of the saloon. My enthusi- 
asm for pictures is very largely that they have, on a 
better level, taken the place of the saloon. Now, you 
may not like tliat, but, having seen as much trouble 
as I have coming out of saloons and much less trouble 
coming out of moving picture houses, I am very strong 
for the moving picture houses as a preventive of 
trouble, so that I would say, going back to Walter 
Lippman's book, "the difference between the pictures 
in our heads and the life about us is the thing that 
gets all people." 

We go around thinking that life is such and sucli 
a thing and we find that life about us is sometliing 
entirely different and in the attempt to adjust one's 
self to life, which never has been done and never can 
be done, a lot of people get tired of it and then they 
go to the moving picture houses and they want three 
things. They want first, well, T don't know which of 
the two comes first, but they want to laugh first, then 
they can forget, and second, they want to cry. I don't 
know why the human race wants to cry, but it does, 
especially women, but men too. Then, mostly and 
chiefly, they want a thrill. 

Those are tiie three things that people go to the 
moving picture houses for, but the last thing the liu- 
man race goes anywhere voluntarily for is to get edu- 

Primarily tlie purpose of tlie picture is tiie same 
as a story, that of romance, adventure, the thing 
liuman beings want more than anything else. I hon- 
estly believe that every one here and everywhere else 
in the world wants primarily some kind of action 
that brings him into the right kind of relation with 
other human beings, and the organization, the family, 
the church, and the state, must function in that way. 

The second tiling we don't want is just to iiave any 
kind of a thing that will be popular. 

So, there is the double job of really presenting a 
romance and adventure and having it mean some- 
thing. That is the purpose. Now, the social worker 
in his own life gets that romance, but he doesn't see 
it in his community, so I feel that social agencies, 
speaking particularly for Neighborhood Houses and 
settlements, want the kind of films that will meet the 
needs of people. 

FIRSTLY, we want something interesting, some- 
thing not written primarily with simply the moral 
purpose in view, and I am an ethics teacher at that, 
but something with a- swing to it. I don't know that 
there ever was a great book or a great story written, 
that was written primarily with the idea of the moral 
purposes, although I think these great books and 
stories have moral purposes. 

It is the adventure that our people want and then 
the thing about the life in which we live. I don't 
think for a moment that you can take the idea of tlie 
moving picture by itself; you have got to see the set- 
ting of the movie house and what is going on around 
in that neighborhood; you have got to know the life 
of the factory, the effect of the machine on the in- 
dividual. I said to one of our workers, "Why are 
those girls so awfully tough?" 

"You go-down to that factory and you will know 
why they are tough." 

Here they sit all day at a table trying to keep up 
with a machine — blood, steel and blood — trying to 
keep up with a machine, and when they get out, no 
dance can be as tough and no drink and no action as 
strong as the machine. 

Then the home — you can't understand tiie movie 
house until you understand the home. My theme is 
"The Relation of the Movie House to Business, 
Pleasure and Home," and I would doubt if by simply 
studying films, the movies, or anything of that kind 
you would understand what people want, need, and 
will respond to. The reason why they need the high- 
ly spiced stuff is that they are trying to forget somc- 


Natioxai Board of Review Magazine 

thing so liccply griiuiiiiy in the factory, so discourag- 
ing in the home. 

Show me a film tiiat appeals to a big audience and 
I will show you rough stuff. By that I mean cheap 
stuff. You have got to see not only what will appeal 
to the big audiences — confound them — but the thing 
that will meet the needs of our little people and little 
audiences, for our chikircn. 

DO you realize that all these lilms on milk, on 
wood, on all the different processes are gotten 
cut by the houses who arc trying to advertise that 
brand? Do you realize that nobody has gotten out 
a thing which shows the work of the boy or girl? Milk 
— I am not decrying that. I am interested in that, 
automobiles, and so forth, but nobody has ever gotten 
out real films on the \\()rkcr to advertise the brands 
of humanity. 

I believe that the purpose is romance and adven- 
ture and that that can be done in regard to certain 
specific topics we are interested in and one is THE 

There was an old woman I knew and she was wise. 
She said, "My soul was born in the kitchen," and I 
tliink a man's soul is born pretty much on his job. It 
is tried there, anyhow, and the films that have to do 
witli the effect of the work on the human soul have yet 
to be made. 

-A young chap I knew wrote a bully film. It was 
called "The Man I Might Have Been". It showed 
a little boy starting out in his work. The work 
bored him to death, and then when he finally grad- 
uated, he had certain mechanical interests, certain 
artistic interests. He liked to draw, he would have 
liked to he a machinist, but here was the pull of 
the crap game, the pull of other things, the misunder- 
standing of the father in regard to the boy's bent. 
Here was the factory that he got into, a place caring 
not so much about the man as the product. 

And then there is a double story of James Oppen- 
heim's. I haven't seen it for a long time. It shows 
constantly how the man is made to disappear from 
the man as he actually went into the work, going on 
down in his job, in his dreams he would see himself 
PS he might have been, had he followed out his bent. 
So he goes on with tlie crap game, the gang life, the 
dance hall life, running away with the waitress in the 
restaurant, getting married, discouraged home — tiiat 
was his life. Constantly as he went along he kept 
getting visions of the man he might have been. He 
saw himself, and you see him there, developing the 
talents he had, getting satisfaction out of his work. 

The deepest thing about us after all is, the desire 
Jo create, and so, finally at the end of the thing, it is 
* man, having one side of him going on. He is a 
fine chap and a good workman. The other is the 
poor beaten wretch tiiat you see nut in the parks. 

carrying his dinner pail and pick axe, and losing his 
job. As he comes into his home there, for the last 
time, he sees stantiing in front of him a well dressed, 
contented, and strong man — the man lie might have 
been. Here is the man who is licked and here is the 
man he might have been, standing facing each other. 

Where is the man that YOU or I might have been? 
I don't know, probably in Sing Sing so far as I am 
concerned, and probably with some of you, maybe 
doing a better job. Put this into the movies — actual 
hfe. That is what we social workers want from films 
— a thrilling picture and it can be made of the life of 
men and women about us in their work. 

The social worker is asking questions, not stating 
answers. We want pictures on work first, then on 
health, and on those things that show the possibility 
of health in athletics, better housing movements and 
the romance of life. Here we all are, living in these 
conditions in the country and in the city, each one of 
us trying to live out our life. A woman said to me the 
other day, "You know, we are just trying to live". 
That is about what every one else is trying to do and 
having a hard job doing it. We go to the movies pri- 
marily to forget. 

A WOMAN with four or five, or six or seven young 
ones forgets her house. She enters, for instance, 
into a room like this one in which we are now, and she 
says, "It looks like the movies!" That is their intro- 
duction into the movie world — laughter, pleasure, 
crying, romance, and thrills! That can be given out 
of actuality, an interpretation of life more than any- 
thing else. There Is nothing social workers won't do 
in order to cooperate with any one who will give us 
an interpretation of life to help the people from the 
tenement house to get what they want and by that 
I mean what they need. I want to give you the pic- 
ture that has perhaps got a stronger hold on me than 
anything else: 

Twice a week during all the summer we have a big 
community gathering in the little park in front of our 
place and there we have a moving picture machine. I 
do not believe there should be a school, a social in- 
stitution, or a neighborhood, without its moving pic- 
ture machine. It is a good deal of a failure with us 
because we can't get the films we need and can't afford 
to pay much. 

T forgot to tell you that. For the social worker, it 
has all got to be cheap. We shouldn't pay anything 
because the showing is free. W^e have it in a dirty 
place where we put up a sheet against the wall and 
as the sun gets somewhere near the Palisades, you 
see these little people come tracking in. Later on 
they have got to fight for places and their only chance 
to get near the screen is squatters' rights. There are 
no seats practically and every one squats, the boys are 
dropping liirt down each other's necks ami the girls 

May-June, \itieteen Twenty-six 

are saying like their motliers, "Wluit is playing in 
the park tonight?" 

"1 don't know; 1 hope it a trilling pitcher." 
They want a "trill". Something they say tiiat is 
worth wiiile. that is funny, not too sad, but something 
that moves them, in the matter of tlieir getting a re- 
lationship with other people. 

PRETTY Soon — it is a Neighborhood organiza- 
tion — the Chairman of the organization, Mr. Flan- 
igan says ; "A little order please. A little order please." 
The minute he gets near the children he shouts, "Lit- 
tle order, please." No one pays any attention to him. 
Then the light goes up and you get what is to us 
about the biggest thing in our work, the twitching, 
shimmering light of the movie, and everybody yells, 
and that brings in others. Everybody in the park 
over ten has a baby sitting on them. We have com- 
munity singing and that goes with a good swing ex- 
cept that the musicians have to work hard to keep 
ahead of the children because they have an Idea that 
the best singer is the one that is through first. Then 
we have an educational, the lives of the Presidents are 
si;own and every one is tremendously interested. 
"George Washington". Yell for George Washing- 
ton. I don't know why the human race yells for 
George Washington, but it does. 

"Do you like George Washington?" 

"Shure, I'll stick wid 'im." 

Any one more recent they don't know about. Then 
come the faces of the other Presidents. That doesn't 
mean much unless they have whiskers and then they 
laugh their heads off, but Lincoln's face, somehow, 
even with us, brings quite a reverence. 

When next the news films come there is a restless- 
ness, a baby sends up a wail of protest, the children 
talk, then comes the funny picture and explosions of 
amusements, but when the romance comes, that whole 
place gets as still as the sky. This is out of doors, you 
see, Vega overhead, and Venus going over the Pali- 
sades and the North Star looking down on us so 
quietly, but the sky is no quieter than the children's 
faces, these thousands of loose children from the 
streets. They come there and are held in absolute 
unity and quiet for the time being. 

The movie is the Pied Piper. It has assembled us 
all. If it could only lead, as well as assemble! It is 
a tremendous, thrilling thing to me as I look at them, 
] see my job that I am failing in, in the matter of 
helping them to work, helping them to health. Right 
there, in visible form, the future looks you in the face, 
there the future alderman is telling the baseball score 
to the future hobo of the park bench. The little girl 
who in years to come will bring up her family in fear 
of the Lord is sitting with her arm around Convict 
722 in the women's prison. The man who will spend 
his life in fear of the chair in Sing Sing is describing 

the picture to the priest who will hear him confess. 

What their lives will be \()u can know to a cer- 
tainty because standing back of that group are the 
older people with faces telling what they have gone 
through. The prosperous bootlegger is standing next 
to Katie McFlops, just back from eighty or ninety 
days on the Island. There is a college man with Cer- 
vantes under his arm talking with a Spaniard who 
loves to discuss philosophy on the park bench. There 
are two fathers. One has just seen his boy going to 
prison and the other one is sending his boy off to col- 
lege next fall. There is not a face that hasn't a story 
to tell of a soul trying to live in conditions that are 

Here the movie comes to give us some entertain- 
ment, perhaps to enter our lives in some other kind 
of way, and so I believe they have a great thing to 
do, but it has got to be a human thing because, after 
all, as I gaze at the faces looking at the films, I know 
that the real power, the life, the romance, the trag- 
edy, the hope, the failure, is in the people, not in the 

Are Junior Matinees A Success? 

T N discussing the motion picture and the attendance 
^ of young people in the theatre the question is fre- 
quently asked, "Are the Junior matinees a success?" 

The answer is "Yes, if they are properly selected, 
chaperoned and sponsored." 

With the exhibitor working in close cooperation 
with the Community Better Films committee, the real 
secret of success lies in the selection of the proper 
programs for the matinee performances. 

The pictures must be entertaining, thrilling yet 
wholesome, and be varied if they are to appeal to the 
modern boy and girl. If the programs are interesting 
the attendance can be built up. 

In initiating the programs, however, it is not 
enough to select good programs and to appoint 
chaperons. The news of the programs planned, and 
the objects of the Junior matinees must be broadcast, 
to secure community backing necessary if the matinees 
are to succeed. 

Representatives of the Parent Teacher Associa- 
tions, serving on the Community Better Films group, 
are usually appointed on the committees on program 
and chaperones for the matinees. These women who 
are vitally interested in young people, and who under- 
stand the boys and girls of today, are well fitted to 
select programs which will be satisfactory, from the 
adult viewpoint and entertaining to young people. 

In many communities it is possible to have a good, 
wholesome, family picture booked for the week-end, 
and if this plan can be followed consistently, there 
will he no real need and no demand for the special 
Junior matinee. 


National Board of Review Magazine 

Exceptional Photoplays 

Selected by the Commiitee on Exceptional Photoplays 
ALFRED B. KUTINER, Secretary and Department Editor 

The Greater Glory 

Directed by Curt Rehfeld 

Photographed by • • John Boyle 

The Cast 

Count Maxim von Hurtig Conway Tearle 

Fanny Anna Q. Silsson 

Corinne ■ ■ May Allison 

Fauli Birbach Ian Keith 

Tante Ilde Lucy Beaumont 

Gustav Schmidt . . . • ■ Jean Hersholt 

Dr. Hermann von Berg Nigel deBruiler 

Mizzi (his ivife) Bridget ta Clark 

Prof. Leopold Eberhardt • • .John Sain polls 

Kaethe (his luife) Marcia Alan on 

Otto Steiner . .Edivard Earle 

Liesel (his wife) Virginia Southern 

Anna (Pauli's wife) • • Isabel Keith 

Irma von Berg Kathleen Chambers 

(the stepmother) 

Leon Krum • ■ Hale Hamilton 

Marie Cora Macey 

Countess von Hurtig • • . . . .Carrie Daumery 

Theodore von Hurtig Thur Fairfax 

Scissors grinder Boris Karloff 

Cross bearer George Billings 

Helga Bess Flowers 

Maid Marcelle Corday 

THE Greater Glory may be described as a pic- 
ture which made a brave attempt and almost 
succeeded. In so far as it failed it failed inter- 
estingly, aside from a number of real blunders which 
many adverse critics have pointed out with flippant 

Not that The Greater Glory presents anything 
very radical in picture making methods. It merely 
lays emphasis upon characterization rather than plot 
and seeks to motivate the departure of some of its 
characters from the normal standard of conduct by 
picturing at great length the actual condition of so- 
ciety in Vienna during and after the war. It tries 
besides to give the history of an entire family, and 
to show the change in their social status as the mem- 
bers sink from affluence to abject poverty, until we 
see a university professor working as a street cleaner 
and a society bud transformed into glittering lady of 
pleasure as the menace of starvation dominates their 
vital destinies. 

In working on a broader canvas than the usual 
tailor-made picture, and seeking to relate a large gal- 
lery of characters to a realistic social background 

J'lie Greater Glory undoubtedly loses in immediate 
cntertaiinnent quality. It lacks artistic unity and ag- 
gravates tiiis tault for the average movie fan by hav- 
ing no dominant love affair. But this is only another 
way of saying that the picture is often merely socio- 
logical instead of artistically satisfying. The aes- 
thetic leaven has failed to permeate all the material, 
making it difficult for the average spectator to assimi- 
late it and let his sympathies guide him without con- 

But what the picture loses in this respect it gains to 
a considerable extent as a human document. Edith 
O'Shaughnessy in her "Viennese Medley" on which 
this picture is based, proceeded more artfully to do 
just tliis, when she gave the history of Tante Ilde's 
widely ramified family instead of making an economic 
and sociological report of Viennese conditions in the 
years immediately after the War when Vienna 
slipped from the position of a cosmopolitan capital 
into the state of a refugee camp of economically 
strangulated civilians. Her compassionate humor 
and deep insight had free play in the modified diary 
form of novel writing which she chose for presenting 
her material. The picture, in attempting to follow 
her method, fails at times to distinguish sufficiently 
between literary and pictorial material. It melo- 
dramatizes the figure of Fanny, the glittering lady 
whom Miss O'Shaughnessy kept so skillfully in the 
background, until she quite eclipses Tante Ilde, the 
real heroine of the story, and reduces too many of 
the other characters to mere outlines where the nov- 
elist made each one stand out in succession. 

What with its length, its lack of unity and the long 
period of its making The Greater Glory remains a 
decidedly uneven piece of work despite many fascinat- 
ing sequences. Its greatest success lies perhaps in 
picturing the social decay of an established society 
and the kaleidoscopic upheaval of classes with the 
war profiteer destroying the old order and creating 
nothing but vulgarity in its stead. 

The outstanding piece of acting is undoubtedly de- 
Hvered by Jean Hersholt as the war profiteer and 
Fanny's ambiguous backer. He gives a consistent 
impersonation with a relentless realism of the same 
cihber which distinguished his work in Greed. Lucy 
Beaumont, who is by way of being a newcomer, does 
excellently as Tante Ilde. Miss Anna Q. Nilsson, on 
the other hand, is rather uneven, being quite stagey 
at times, especially in the latter part, as if she had 

\Iay-J line, Xiiutceii Twenty-six 


ne\ei" (]uitc m;uic up her mind as to liow t(i interpret 
her part. 

Curt Rehtekl, one oi the newer directors, does 
wonders with the material given to him and is un- 
doubtedlv responsible tor the authentic pictures ot 
\'ienna. But even he could do little with June Mathis' 
unfortunate excursion into symbolism which lays an 
unnecessary handicap upon the picture aside from 
being a plagiarism upon similar scenes from 71ie Four 
H orsemeti. This is the first thing that ought to be 
cut out in the inevitable process of shortening The 
Greater Glory to a more digestible length. 

(Front the Novel "Fieiuiese Medley" by Edith 
O'Shaitghnessy. Scenario by June Mathis. Produced 
b\ Richard ./. Rozcland and distributed by First Na- 


.hi .Actor's Silence Triumphs Over His Mailer 

HB. WARNER, the star of Silence, a new Pro- 
• ducers-Distributors release, furnishes a notable 
instance of an actor rising above his material and giv- 
ing a performance which is by way of being a personal 
triumph. The picture, based upon the stage play of 
the same name by Max Marcin, is good melodra- 
matic entertainment, gripping enough while you see 
it, but hardly exceptional where purely artistic merits 
must be the criterion. It struggles valiantly to show 
tiie tragedv of a father's emotional self-sacrifice for 
the sake of his daughter only to sink back into the 
same old movie conventions in the interests of a happy 

The part of Jim Warren, however, provides 
a golden opportunity for Mr. Warner, of which he 
takes every advantage. He acts throughout the pic- 
ture as if he were really self-doomed to death, willing 
to die quietly, without undue parading, and with that 
clarity of spirit which, one imagines, must come to a 
man when he has highly resolved to lay down his life 
for a great love. His acting makes one believe that 
heroes still exist outside of the movies where heroes 
are forever fated to defeat villains and to marry 
heroines, as if life were always like that! 

Mr. Warner's work literally makes the picture- — 
makes it, to that extent, exceptional. He disarms our 
criticism of it where its plot would otherwise creak; 
he delays our judgment of its weaknesses while we 
watch him at work. It is not only his best perform- 
ance but vastly better than anything he has previously 

The Vision 

THE J'isiun deserves attention both as an illus- 
tration of a serious attempt to make sliort pictures 
of outstanding merit and because it is one of tiie most 
successful examples of the new technicolor process yet 

An interesting article on the way technicolor pic- 
tures are made will be found on another page of this 
issue. This picture certainly shows a great advance 
in tiie natural reproduction of color on the screen and 
perhaps foreshadows a much wider use of colors in 
motion pictures. 

The picture presents an iniaginative version of the 
siory which inspired Sir John MiUais, the noted Eng- 
lish painter, to paint his canvas "Speak! Speak!" It 
tells of a thwarted romance, a lover treacherously 
slain and a lady doomed to haunt an ancient manse. 
She appears to the present owner, a romantic young 
invalid who follows her into the shadows in the faith 
that he is her re-incarnated lover. i^ 

It is the successful color reproduction, however, 
that chiefly attracts the interest, and gives this little 
photo-narrative a real value in current cinema under- 

Motion picture producers and patrons of the mo- 
tion picture houses should pull together to secure 
the only worth-while censorship — that of the pub- 
lic through the proper channel — the box office. — 
Louis B. Mayer, from the San Francisco Herald. 

THIS issue goes to press with only one exceptional 
photoplay review and two shorter notices. While 
we regret this brevity of the exceptional photoplay 
department we welcome the opportunity to inform 
our readers that exceptional pictures are, in a way, 
a dispensation of Providence. The exceptional picture 
is a growth which, under the existing conditions of 
commercial picture making, cannot be forced. We 
must be thankful for what we get and this Spring, cold 
and belated as it is, has been chary of blossoms. Let 
us hope that a hot June and July will bring forth a 
more generous crop. 

Meanwhile it is perhaps in place to repeat that 
the exceptional picture is not based simply upon 
likes or dislikes, nor is it very largely dependent 
upon the criterion of popularity. It may at times 
even be deficient in entertainment quality. Pictures 
may be very entertaining and be able to keep on the 
screen for long runs but nevertheless be entirely with- 
out any artistic merit whatsoever according to the 
standards to which this department must necessarily 
adhere. On the other hand, the artistic virtues of a 
picture are the very qualities which are likely to give 
it a lease of life long after the merely popular picture 
has been forgotten. Thus it was interesting to note 
that an overwhelming number of pictures recently re- 
vived with such success at the Cameo Theatre were 
listed as exceptional by this department when they 
first appeared years ago. 


National Board of Review Magazine 

Technicolor Motion Pictures 


Mr. .hiJreus is production maiuujcr of the Tech- 
nicolor Motion Picture Corporation zihich has made 
notable progress in developing the natural color mo- 
tion picture through what is knoztn as the "Techni- 
color Process. — Thk EDITOR. 

' I ' n 1". marvelous development of the art of natural 
J- color motion picture photography is bringing 
about a pronounced interest in this type of motion 
picture and the question "How are natural color films 
.made?" is being Jieard everywhere. 

In the Technicolor Process a special type of lens is 
used which permits the taking of two negatives with 
the same camera. As the light passes through the 
lens, the colors are filtered and the red-orange-yellow 
\alues are registered on one negative, while the green- 
iilue values are registered on another negative. 

These two negatives, which match perfectly frame 
tor frame, are then printed on two separate strips of 
positive film. Each of these strips of positive film is 
slightly more than half the thickness of the stock ordi- 
narily used for black and white print purposes. When 
these two strips of positive films are printed, they are 
tiien cemented, or, speaking more accurately, actually 
welded together, back to back, so that we then have a 
strip of positive film with a photographic impression 
on each side, these two opposite photographs register- 
ing perfectly in each frame. The finished positive 
print is a little tliicker and stronger than the ordinary 
black and white film. 

After the development the film is put through dye 
baths. The side on which the red values have been 
recorded has to be put through a red dye bath, and 
after this is thoroughly dried, the other side is dyed 
green. As the red dye can not be permitted to touch 
th.e side of the film containing the green values, or 
vice versa, it is necessary to float the film over the dye 
bath and not to immerse them. 

The finished and dyed film is then given a protec- 
tive coating with a sort of varnish which saves the 
delicately colored impressions from being marred by 
the ordinary slight scratches incident to projection. 

When the finished film is run through the projec- 
tion machine, the picture projected on the screen is 
actually a combination of two pictures, but the care- 
ful registry of the two films, as now perfected, pre- 
^■ents a halo of raw colors, such as was so noticeable 
in color films of the past, and the pictures projected 
on the machine affords a nearly perfect blending of 
the basic colors in one beautifully colored picture 
which v-ery closely approximates natural colors. 

As in the past, good clear natural coloring has been 
especiallv difficult to obtain where fast motion was 
recorded. Now it Is possible for the Technicolor 

cameraman to work alongside the black and white 
cameraman under practically the same lighting condi- 
tions and with very little special preparation, filming 
in natural colors every bit of action that it is possible 
tor the simpler type of camera to record. A con- 
tributing factor in bringing this about is the new high- 
speed color-sensitized negative that is employed by all 
I'echni-color camera-men. 

The day is not far distant when three-quarters of 
tlie productions that are screened will be shown in 
their natural colors. 

Problems in Technique 

(Continued from page 6) 

which will lead to the development of actors of sub- 
tlety and delicacy in other directions. America will 
soon have the opportunity to see the art of Emil Jan- 
nings, who will be brought to this country shortly 
to appear in motion pictures to be made in America. 

The economic development and artistic develop- 
ment of the film must come hand in hand. In time 
perhaps, audiences will be divided and separate pic- 
tures made for separate audiences. In that day we 
will see the motion picture at its height. But in the 
present day the business like operation ot motion pic- 
ture studios is leading directly to a more careful con- 
ception of what is to appear on the screen. Large stu- 
dios now rule that no director shall hire an actor or 
Iiav-e a setting built or turn a crank until he has a co- 
herent, homogeneous, well devised dramatic blueprint 
of what he intends to create. The haphazard meth- 
ods of the past are fading away and as a result the 
motion picture itself becomes more unified, more 
tightly drawn together, set in its proper rhythm and 
tempo. The need for economy because of the great 
and mounting costs involved, means that pictures will 
less and less include scenes, characters and ideas that 
are unrelated to the vital, central whole. In effect 
it means pictures more interesting, more entertain- 
ing, as well as more efficiently made. 

The motion picture actor of today is my favorite 
subject. I am well acquainted with the theatre at its 
best, and I would not be afraid to challenge compari- 
son of the screen with the theatre today. Indeed, 
while the screen has not yet had time to reach as many 
heights of great portrayal as the theatre, its average 
of competence is greater and is growing. These are 
two entirely separate arts, and of the two acting on 
the screen is more difficult, more demanding at its 
best of intelligence and the equipment of experience. 

In conclusion, let me ask you — Please do not doubt 
tlie motion picture. Its road is hard enough, it must 
progress against great odds, because it can only move 
as its audience moves with it, and its audience is vast. 
It needs vour belief, your hope, your encouragement 
;iinl vour undcrstaiuling. 

National Organizations Adopt Motion 

Picture Programs 

General Federation of Women's Clubs, the National Congress of Parent-Teacher 

Associations and the National Society Daughters of the American 

Revolution Outline Constructive Plans 


'Hl-i General Federation ot Womens Clubs has 

I planned a far-reaching constructive motion pic- 
ture program which was outlined by the chair- 
man ot the Motion Picture Committee, Mrs. Alfred 
C. Tyler, of Evanston, Illinois, at the biennial conven- 
tion in Atlantic City, May 24th-June 4th. 

In summarizing the program, Mrs. Tyler outlined 
four specific points: 

First — the necessity of appointing Motion Picture 
chairmen in every state federation, and club chair- 
men in every community — chairmen who realize that 
their positions mean hard work. 

Second — furnishing classified lists of pictures with 
their audience suitability for the guidance of the com- 
mittees. The lists will include all entertainment pic- 
tures, with special markings designating the better 
films which deserve support. 

Third — in cooperation with the local exhibitors, 
the clubs will be encouraged to bring to their com- 
munities some of the classics of the screen in revival 
programs. These programs will include many of the 
fine pictures which should be preserved — and some 
pictures of exceptional merit, which lack popular ap- 
peal, will be sponsored in an effort to bring to them 
the support which they merit. 

Fourth — tiie use of the motion picture in further- 
ing the club programs. In this connection appropri- 
ate entertainment pictures as well as the educational 
and non-theatrical films will be listed and classified 
according to the department of the Federation to 
which they may be applied. Tliese lists will be dis- 
tributed to the clubs in the fall when they may be 
adapted to the year's programs. 

At the close of her report Mrs. Tyler emphasized 
the fact that the "General Federation of Women's 
Clubs will maintain its absolute independence, but 
will work with all organizations to increase the de- 
mand for better films and the widespreatl support of 
the best." 

One of the distinctive features of this plan is 
the suggestion that clubs use the motion picture in 
their programs. The value of the motion picture in 
Visual education has long been recognized, and the 
clubwomen are taking a progressive step in planning 
the use of pictures in their regular work. The 
pictures will prove as educational as they are enter- 

taining and will tend to create a livelier interest in 
all phases of the club program. 

In her report, speaking of the better films move- 
ment, Mrs. Tyler said, "We found that a working 
program for dealing with the problem of good films 
had grown up out of the practical experience of 
women who were meeting their own local conditions. 
They had established in many places co-operation 
with the local manager, they had united with other 
groups working for better pictures. The manager 
was willing to put on good pictures if good pictures 
could be supported. These groups have been grow- 
ing in number and with them the demand for inform- 
ation about pictures. It is the plan of this committee 
to seek information from all legitimate sources, to 
test and check, and to send out a classified list to- 
gether with more detailed information about the best 
pictures — information which we hope can be used in 
making them popular. There will also be furnished 
information about pictures unworthy of exhibition. 
The wisdom of a "black list" is a disputed question. 
It has been contended that it would advertise the bad 
picture — that the only safe way is to praise the good 
and forget the bad. I believe bad pictures can be 
condemned in language that will not add to their 
popularity. I believe that this information must be 
given if approval is to be of real value. 

"The use of the classified list will enable these 
working committees to ask for pictures suitable for 
the family on Friday and Saturday. 

"And that brings me to the Matinee for Children. 

"I feel that any plan which adds to the over stimu- 
lation of this age for our children is something which 
should be questioned with the greatest care. If 
Friday and Saturday performances could be of a kind 
that a child might enjoy with his parents I believe this 
to be the normal plan. If, however, you are per- 
suaded that a children's matinee Is needed in your 
locality — that it is not an artificial commercial de- 
mand — then study the program that can be offered at 
tl'.ese matinees." 

The motion picture committee chairman of the 
General Federation works under the department of 
Applied Education. Mrs. George W. Plummer of 
Chicago, has completed a successful term as chairman 
of this department. 



Nationai. Board of Review Magazine 

In her report to the convention Mrs. 1 Mummer 
said in part: 

"The Motion Picture Committee, headed Hrst by 
Mrs. Alfred Lee, and later by Mrs. Alfred Tyler, 
has made little progress perhaps in solving tiie prob- 
lems of making 'the movies' safe for a decent democ- 
racy. Like the angeles they have 'feared to tread' 
lest they lead us into the Scylla of entanglements with 
'tlic industry' on the one hand, or the Charybdis of 
smug meddling on the other. We may have 'made 
haste slowly' but at least we do not have to take back 
anything. * * * Mrs. Tyler urges an interest in the 
physical conditions in the Moving Picture houses. Is 
the theatre well lighted? Is it ventilated? Is it well 
supervised? What about the attendance of children 
on school nights? Why do the children of your com- 
munity attend the movies? Is it because of a dearth 
of other amusements? Who 
has not been thrilled by the 
visualization of some of the 
great stories of the world? As 
the water in the tank of a 
seagoing vessel gradually 
cleanses itself, so will this 
great medium grow more and 
more beautiful and whole- 
some and helpful because 
truer to life's realities — no 
less true because good and 

During the biennial convention, Mrs. Tyler called 
several conferences of those interested in motion 
pictures, women from several states explained meth- 
ods which had been found satisfactory in their com- 
munities. Mrs. Tyler announced that within a fort- 
night, she would begin the work of the year. * 

Mrs. William F. Blackman, past state president of 
the Florida Federation of Women's Clubs, has been 
appointed chairman of the Department of Applied 
Education for the ensuing two years. 

Parent-Teacher Program 

THE following resolution adopted at the annual 
convention of the National Congress of Parent- 
Teacher associations held in Atlanta early in May 
indicates a continuance of the program of this or- 
ganization in urging support of the finer and better 

JVhereas, The National Congress of Parents and 
Teachers believes that in all its policies and actions, 
its first responsibility is the individual child, and 

JVhereas, The securing of good anil clean motion 
pictures requires individual action on the part of 
citizens, therefore. 

Be it Resolved, That tlie Congress of Parents and 
Teachers recommend to all its members the expres- 
sion of approval or condemnation of pictures to the 
local exhibitor, to the end tliat by sucli methods a 

The BRTTiiR Fir.Ms National 
Council (formerly the National 
Committee for Better Films) of 
National Board oi<' Rkview is 
offering its hearty cooperation 
to these national organizations 
in furthering their programs for 
Better Films. 

strong market may be created for the highest type of 
tihiis and thus the busineess law of supply and de- 
mand may have its effect upon the manufacturer and 

DaiKjhiers of .American Revolution 

Ti 11', National Society of the Daughters of the 
American Revolution has followed a constructive 
better films program for several years past, notable 
work being accomplished by Mrs. Grant Baldwin, of 
Brooklyn, who in April completed a term of four 
years as Better Films Chairman of the National So- 

The Daughters of the American Revolution has 
followed a distinct line of work in the national better 
ti'ms program. 

Primarily, this is a patriotic organization, and it 
has lent support to all pictures 
of historic \alue. Mrs. Bald- 
win lias issueti lists of motion 
pictures which she thought 
would be of especial interest 
to members of the organiza- 
tion, and has also listed a few 
pictures which were especially 
worthy of support because of 
their exceptional character. 

One of the most vital pieces 
of motion picture work open 
to the National Society of the Daughters of the 
American Revolution, is the use of films in the Ameri- 
canization program. This organization has43repared 
a handbook for distribution to the immigrants arriv- 
ing in this country. This handbook gives all informa- 
tion necessary for the immigrant desiring to become 
naturalized, and in addition gives information on 
where to go for help, in fact explains the customs of 
this country. The handbook has been printed in sev- 
eral languages and is being widely distributed. The 
Daughters of the American Revolution in many cities 
are conducting classes in Americanization and citizen- 
ship training, and find the Motion Picture especially 

Many national organizations, recognizing the value 
of the motion picture, have films made explaining 
their activities. These pictures are used to increase 
the membership in the national organization and to 
give valuable publicity to the work. 

This is another way in which organizations are 
adapting the motion picture to their needs. Indus- 
trial plants anil manufacturers have long realized the 
selling value of motion pictures of tlieir plants, and 
now organizations are following the same idea. In 
addition to the selling value of the pictures, some of 
the industries use the motion picture as an aid to 
teaching workers their methods, and the various uses 
of the machines in the shops. 

Better Films Service 

THE BuTTtR Films National 
Council (formerly the National 
Committee for Better Films) of the 
National Board of Rhvihw is not 
only fostering ;i broad better films pro- 
gram through its affiliated community 
Better Films Committees and Study 
Clubs, and its associate members resid- 
ing in every section of the country, but 
is cooperating with all National organi- 
zations in furthering their better films 

Affiliated groups of the Better Films 
National Council not only receive 
the regular informational service of the 
National Council through the Na- 
tional Board of Review Magazine. 
but on request secure specific informa- 
tion on films to supplement all of their 

On a Community Better Film Com- 
mittee one finds representatives of all 
the men's and women's civic, patriotic, 
philanthropic and social organizations 
of the city: the library, the school, and 
the church being particularly represented 
on the committee. Through affiliation 
with the Better Films National 
Council there are available for the use 
of that committee special lists of pictures 
suitable for use in the church; on civic 
programs; patriotic occasions; there are 
pictures suggested for Music Week, 
Garden Week, National Health Day, 
Safety Week, Mother's Day, Boys' 
Week. In fact, there are pictures avail- 
able which are appropriate for all special 
events on the year's calendar. 

Library Service 

The libraries secure from the Better 
Films National Council information 
regarding the books which have been 
filmed. In cooperation with the Na- 
tional Association of Book Publishers, 
the Better Films National Council 
has issued an annual "Book Week List." 
And where the libraries are associated 
with the National Council, as the va- 
rious pictures are released, they receive 
information as to whether the picture 
is a film version of a book, and if the 
picture is on the Selected List of the 
National Council, the library then gives 
suitable publicity to the picture and the 
book on the library bulletin board. 

Ministers of practically every denom- 
ination have used the informational ser- 
vice of the National Council to se- 
cure suggestions for pictures to be used 
in their churches. From time to time, 

lists are published of films suitable for 
church use. Not only does this Better 
Films Council of the National 
Board compile such lists, but from 
month to month keeps them up-to-date 
with additions and changes. 

Organized primarily to review the en- 
tertainment films, the National Board 
of Review is broadening its service, in 
response to a very definite request from 
the public and will go deeper and deeper 
into the educational and non-theatrical 

Beginning in the fall, the N.'VTIonal 
Board of Review Magazine will in- 
augurate a department to be devoted to 
non-theatrical and educational pictures 
suitable for use on school programs. 
This service will be particularly valu- 
able to the small schools which are just 
studying the matter of including the 
motion picture on their visual instruction 

Unique Group 

No other organization has the wealth 
of information about Motion Pictures 
which may be found in the files of the 
National Board of Review. No 
other body is equipped to secure, com- 
pile and disseminate so efficiently this ac- 
curate information on motion pictures. 

The service the Better Films Na- 
tional Council has been giving its 
affiliated groups and associate members, 
it is now extending to all National 
groups which are working along con- 
structive better films lines and seeking 
to bring merited support to the better 

In order to afford exhibitors and or- 
ganizations using motion pictures a se- 
lected list of the better films and the 
exceptional motion pictures, the Review 
committees, in passing upon pictures for 
general exhibition, at the same time se- 
lect those most worthy of patronage. 
The pictures selected are those which 
are interesting and wholesome and 
which have, generally, a popular appeal 
in theme and method and they are in 
addition recommended as to audience 
suitability'. These lists are used as the 
basis for the work of many better films 
committees who restrict their endorse- 
ments to the pictures on the Selected 
Guide. The Better Films Committees 
also bring to special attention exceptional 
photoplays, those of outstanding dra- 
matic or artistic value. 

It is recognized that not every one 
will agree with these selections. They 
represent, however, the unbiased opin- 
ion of Committees of varied personnel 
consisting of from 6 to 15 members 
whose constant endeavor in the service 
of the Board is to render fair and 
thoughtful judggient. Moreover, 
through the balancing of opinion by the 
method of committee review and ma- 
jority ballot, assurance is given that the 
decisions will not reflect personal pre- 
judice. But the Board recognizes that 
differences of opinion are bound to arise 
and final selections must rest with the 
exhibitor and community groups. The 
lists of Selected Pictures are proving 
valuable to many individuals and groups. 

Our Objects 

The Better Films National 
Council, composed of associate and co- 
operating members and Affiliated Bet- 
ter Films Committees throughout the 
country is — 

Encouraging a study of the motion 
picture as a medium of entertainment, 
instruction and artistic expression. 

Bringing to the attention of the pub- 
lic the better pictures, classified accord- 
ing to their type-of -audience (age and 
group) suitability and cooperating with 
the exhibitors in encouraging support of 
the finer pictures. 

Emphasizing the fact that the ma- 
jority of motion pictures are not made 
for children, but that the motion picture 
is a form of entertainment directed at 
its fullest expression toward mature 
audiences, and must be encouraged as 
such if its highest artistic, entertainment 
and educational possibilities are to be 
realized. But also recognizing the fact 
that certain films are definitely suitable 
for boys and girls, and sponsoring se- 
lected programs for Junior matinees. 

Establishing in the minds of the pub- 
lic the fact that the only fair and ef- 
fective way of bringing public opinion 
to aid socially in the entertainment, ar- 
tistic and educational development of 
motion pictures is through the construc- 
tive methods of the Better Films move- 
ment — namely, selection and classifica- 
tion, and enlisting Community support 
of the better pictures. 


Motion Pictures With Patriotic Tiiemes 

Pictures Selected for Presentation on Patriotic Holidays 

THE Nation Ai. Board of Review 
has compiled a list of motion pic- 
tures with patriotic themes which 
are suitable for showings on Independ- 
ence Day and other patriotic occasions 
in response to many requests from patri- 
otic organizations and community groups 
planning special entertainments. 

Better Films Committees conducting 
Junior Matinees ah\ays plan to book a 
patriotic picture on Independence Day. 
National patriotic societies, in co- 
operation with the theatre exhibitors, 
seek the presentation of a patriotic pic- 
ture in connection with the regular thea- 
ter programs on Independence Day. 

Patriotic Pictures 

lings — Drama of Lincolns life from his 
birtli to his death — 10 reels. — ("The Dra- 
matic Lite of Abraham Lincoln" by A. M. 
R. Wright) — First National Pictures, 383 
Madison Ave., New York City. 

.AAH'^RICA — Historical romance 
against the background of the Revolution- 
ary War, showing the features which led 
to America taking up arms against Britain 
— 14 reels. — United Artists Corp., 729 
Seventh Ave., New York City. 

Lowe — Story of a soldier who wished 
never to hear of the United States again 
and what happened to him when this wish 
was made his courtmartial sentence. 
("The Man Without a Country" by Ed- 
ward Everett Hale) — 11 reels.— Fox Film 
Company, 850 Tenth Ave., New York 

\ idor, Edmund Lowe — Romance between 
a Southern girl and an officer of the 
Northern army in the Civil War. (Play by 
Clyde Fitch) — 8 reels — Producers Distrib- 
uting Corp., 469 Fifth Ave., New '^'ork 

BETSY ROSS— Alice Brady — The 
story of the making of the first flag — 5 
reels. — Edited Pictures System, 71 ^\^■st 
23rd St., New York City. 

tures dealing with important events in 
American History. Adapted from the 
Yale University scries of books — 3 or 4 
reels each — Pathe Exchange, Inc., 35 West 
45th St., New York City. 

Alexander Hniniltnn — Hamilton's fin- 
ancing of the newly created American gov- 
ernment. ("Washington and His Col- 
leagues' by Henry Jones Ford) — 3 reels. 


Columbus — Story of Columbus from his 
first attempt to secure aid up to his landing 
on American soil. ("The Spanish Con- 
(jucror" by Irving Berdine Richman) — \ 

Daniel Boone — The opening up of the 
region around Kentucky and Tennessee by 
Daniel Boone before the Revolution. 
("Pioneers of the Old Southwest" by Con- 
stance Lindsay Skinner) — 3 reels. 

The Dechiralion of Independence — 
Events in Philadelphia immediately pre- 
ceding the Declaration of Independence 
and its adoption. ("The F^ve of the Revo- 
lution" by Carl Becker) — 3 reels. 

Dixie — The War of 1860, featuring 
Grant and Lee and the efforts of Southern 
families to keep the Confederate Army 
supplied with food and clothing. ("The 
Days of Confederacy" by Nathaniel W. 
Stephenson) — 3 reels. 

The Eve of the Revolution— Events such 
as the Boston massacre, Boston tea party, 
Battle of Lexington, et cetera. (Book of 
same name by Carl Becker) — 3 reels. 

The Frontier Woman — Showing the suf- 
ferings and courage of the frontier woman. 
("Pioneers of the Old Southwest" by Con- 
stance Lindsay Skinner) — 3 reels. 

The Gateway to the West — Showing 
George Washington as a lieutenant, and 
the battle between the French and Eng- 
lish to open a gateway to the West. ("The 
Conquest of New France" by George M. 
Wrong) — 3 reels. 

Jamestown — Picturing the early days of 
the founding of Jamestown. ("Pioneers of 
the Old South" by Mary Johnston) — t^ 

Peter Stuyvesant — The rule of Peter 
Stuyvesant in New Netherlands, and cap- 
ture by the English. ("The Dutch and 
English on the Hudson" by Maude Wilder 
Goodwin) — 3 reels. 

The Pilgrims — The Pilgrim Fathers' 
start from England, their landing at Ply- 
mouth Rock and the first hard winter. 
("The Fathers of New England" by 
Charles M. Andrews) — 3 reels. 

The Puritans — Picture depicting life and 
hardship of the Puritans. ("The Fathers 
of New England" by Charles M. An- 
drews) — 3 reels. 

J'incennes — The conquest of the Colo- 
nial "northwest", Ohio, Illinois, Wisconsin, 
Michigan, Indiana, 1776-1779, by the 
Backwoodsmen of Virginia. ("The Old 
Northwest" by Frederic Austin Ogg) — 3 

JFolfe and Montcalm — The war between 
the English and the French in America, 
the taking of Quebec and the death of 
Wolfe. ("The Conquest of New France" 
by George M. Wrong) — 3 reels. 

Yorktown — The coming of France to 
the aid of the ."American colonies and the 

surrender of Yorktown by the British. 
("Washington and His Comrades in 
Arms" by George M. Wrong) — 3 reels. 

CLASSMATES— Richard Barthelmess 
— Drama of honor in which a West Point 
cadet who has been court martialed pur- 
sues his treacherous rival to the Amazon 
to clear himself of the false charge; au- 
thentic scenes. — 7 reels — First National 
Pictures, 383 Madison Avenue, New York 

TONS — The English homes and surround- 
ings of the Washingtons and the Frank- 
lins showing the early family history of 
two great Americans. (Book by Arthur 
Branscombe) — 3 reels. — Sulgravc Insti- 
tute, Woolworth Bldg., New York City. 

THE DEERSL.\YER— Romance of 
the French and Indian War. (Novel by 
James Fenimore Cooper) — 6 reels. — 
American Motion Picture Corp., 130 West 
46th St., New York Citv. 

son — Story of the war between the Whites 
and the Indians showing Custer's' last 
stand — 9 reels. — Universal Pictures Corp., 
730 Fifth Ave., New York City. 

HAVOC— Story of the Great War 
with many realistic scenes — 9 reels. — Fox 
Film Company, 850 Tenth Ave., New 
York City. 

Warwick, Gail Kane — A stirring tale of 
Revolutionary days dealing with the dan- 
gers and the worries of the brave Colon- 
ists. An impressive visualization of the 
life of Nathan Hale. — 5 reels — Edited Pic- 
tures System, 71 West 23rd Street, New 
York Citv. 

during the administration of Abraham 
Lincoln — 2 reels. — Edited Pictures System, 
71 West 23rd St., New York City. ' 

Tense dramatic episode in President Lin- 
coln's life. A stirring Civil War story — 
4 reels. — American Motion Picture Corp., 
130 West 46th St., New York City. 

Showing in forceful and convincing man- 
ner, the great benefits and advantages of 
living in the L^nitcd States of America. — 
2 reels — Edited Pictures System, 71 West 
23rd Street, New "^'ork City. 

vies — A love story against the background 
of the American Revolution. (Novel by 
Paul Leicester Ford) — 12 reels. — Metro- 
Goldwin Distributing Corp., 1540 Broad- 
way, New York Citv. 

Ince — A moving incident in the life of Lin- 
coln which shows how his profound phil- 
osophy may be applied to present-dav prob- 
lems — 2 reels. — .American Motion Picture 

May-June, Nineteen Tu'enly-six 


Corp., 130 West 4btli St., New York City. 

FATHERS — Jamestown, Yorktowii and 
VVillianisburs;, \'irt;inia, scenes of the first 
settlement of English speaking people in 
the western hemisphere. — 1 reel — Pathe 
E.xchange Inc., .^5 West 45th Street, New 
York City. 

LIFE OF LINCOLN— 2 reels.— Edit- 
ed Pictures System, 71 West 23rd St., 
New York City. 

liams, Cullen Landis — Romance of the 
Spanish-American War period, with an in- 
teresting reproduction of the fleet engaged 
off Santiago. (Novel by Morgan Robert- 
son) — 7 reels — \'itagraph Co. of Amer- 
ica, 1600 Broadway, New York City. 

varro — Romance of a midshipman at An- 
napolis Naval Academy; authentic scenes — 
8 reels — Metro-Goldwyn Pictures Corp., 
1560 Broadway, New York City. 

toric and literary landmarks in and around 
Boston, Plymouth and the famous Rock, 
Kaneviil Hall. Kings Chapel, the site of 
the Battle of Lexington, etc. — 1 reel — 
Pathe Exchange Inc., 35 West 45th Street, 
New York City. 

OUR DEFENDERS— Grantland Rice 
Sportlight deals with cadets at West Point 
and Middies at Annapolis, shows our de- 
fense oflScers in the making — 1 reel — 
Pathe Exchange Inc., 35 West 45th Street, 
New York City. 

Navy Recruiting Station, South and White- 
hall Streets, New York City. 

SERIES — The workings of each depart- 
ment of the Government. (Pictures may 
be rented separately, in groups, or in en- 
tirety)—! reel each — Edited Pictures Svs- 
tem, 71 West 23rd St., New York Cit\'. 

melodrama of army post life, in the days 
of '49. Indian fighting, Custer's last stand, 
authentic settings — 9 reels. — -First National 
Pictures, 383 Madison Ave., New York 

Chapin — Lincoln cycle of pictures — -2 reels 
each. — American Motion Picture Corp., 
130 West 46th St., New York Citv. 

Romance based on the lives of a good and 
bad son and how they acted in the World 
War — 6 reels. — Film Booking Offices of 
America, 1560 Broadwav, New York Cit\-. 

SPANGLED BANNER— Highlights in 
the career of Francis Scott Key and events 
leading to the writing of the national an- 
them. — 2 reels — Pictorial Clubs, 350 Mad- 
ison Avenue, New York Citv. 

RIDGE — An old man known as "Uncle 
Sam" gives his life for the sake of peace 
as his son gave his for the sake of democ- 
racy. (Novel by Margaret Prescott Mon- 
tagne) — 5 reels. — Edited Pictures System, 
71 West 23rd St.. New York City. 

^'ANKS — A study in Anierican- 
i/ation. In the World War, Sergeant 
O'Leary assembles his "fighting Yanks". 
Almost every man answers to an alien 
name but every one is a real American — 
1 reel. — American Motion Picture Corp., 
130 West 46th St., New York Citv. 

official picture built of scenes taken during 
the war by U. S. Signal Corps. — Ameri- 
can Legion Film Service. Indianapolis, Ind. 

Comedies of Soldier Life 

edy of life in the World War for two 
doughboys — 6 reels. — Famous Players- 
Lasky Corp., 485 Fifth Ave., New York 

don — War comedy, story of the last and 
lost soldier of the U. S. A. who dreams 
he is a king. Slapstick but some real 
humor — 3 reels.— Pathe Exchange, 35 
West 45th St., New York City. 

— Charles Murray, Lucicn Littlefield — 
Slapstick comedy of life in the trenches — 
2 reels. — Pathe Exchange, 35 West 45th 
St., New York City. 

Industrial Pictures 

THE comparatively new field of 
commercial and industrial motion 
pictures has almost unlimited possibili- 
ties for development within the next few 
years, both as to advertising and educa- 
tional purposes, in the opinion of Charles 
Barrell, Motion Picture Director of the 
AVestern Electric Company and Presi- 
dent of the Motion Picture Chamber of 
Commerce of America, Inc. (Non- 

A series of pictures featuring, how- 
ever incidentally, such prosaic things as 
automobile tires, turpentine, etcetera, 
would seem, to the uninitiated, to offer 
a highly uninteresting two hours, but the 
non-theatrical producers have advanced 
in their field to such an extent that to- 
day, not merely the small town theatres, 
but the metropolitan film houses are ex- 
hibiting them in increasing numbers. 

When the Motion Picture Chamber 
staged its second annual show, consist- 
ing of a program of eighteen short length 
films, accompanied by a ten-piece or- 
chestra, at the Town Hall in New 
Y'ork a short time ago, it was able to 
draw an audience of 1,200 spectators, 
many of whom came from Chicago, 
Rochester, Dayton, Philadelphia and 
other cities. 

Not many purely theatrical programs 
could have been more interesting, for 
every kind of motion picture technique 
was exhibited — animated drawings and 
cartoons, miniature model settings, the 

latest impro\cment> in natural culor 
photography, stop-motion, ultra speed 
and photomicogr.iphy, the last being 
microscopic motion picture studies of in- 
sect life. 

"These films are proof that some of 
the best brains in the motion picture bus- 
iness are employed to make scientific, ac- 
curate and interesting productions for 
industry and education," said .Mr. Bar- 
rell. "The day is past when anyone 
w ho can grind a camera makes industrial 
pictures. The story must not only be 
well-told, but the best photographic and 
technical devices must be used." 

The pictures are exhibited not only 
by regular theatres, but also by more 
than 5,000 schools, museums, religious 
and social centers, clubs, societies and 
business associations. 

Field Notes 

'The California Federation of Wo- 
men's Clubs, at its recent convention, 
passed resolutions opposing censorship of 
Motion Pictures and expressing the idea 
that proper support of the better pictures 
is the only solution of the question. 

Mrs. Alfred Graham, state chairman 
of Motion Pictures, recently held a con- 
ference of the Los Angeles District, of 
the California Federation, in the Holly- 
wood Studio Club. Endorsements of 
the Motion Picture committees of the 
Federation are broadcast, this informa- 
tion stimulating attendance on the better 

During the annual convention of the 
National Congress of Parent-Teacher 
Associations held in Atlanta, the Better 
Films Committee cooperated with the 
Parent-'Feacher associations in arranging 
for the entertainment of the visiting del- 

The chairman of the Better Films 
Committee, Mrs. Frank McCormack, is 
also a member of a Parent-Teacher asso- 
ciation ; and Mrs. Alonzo Richardson, 
prominently identified with the club life 
of Atlanta, and past chairman of the 
Better Films Committee, was special 
hostess to Mrs. A. H. Reeve, president 
of the National Congress Parent-Teacher 

All delegates to the Parent-Teacher 
associations convention were invited to 
attend tlie Junior ALatinee on Saturday 
morning and enjoy with the children the 
excellent program including a prologue 
and a feature picture. In addition to the 
regular program a news feature was 
shown picturing Mrs. Reeve and other 
delegates visiting the Atlanta demonstra- 
tion house opened for inspection during 
the Better Homes week. 

National Board of Review Magazine 

Guide To The Selected Pictures 

Selected by the Review Committees 

Key to Audience Suitability 

General audience (composed principal- 
ly of adults). Pictures primarily inter- 
esting to adults — but pictures not ordinar- 
ily recommended for boys and girls may 
be included in the list if the presentation 
is not objectionable for them. 

Family audience, including young peo- 
ple. Pictures acceptable to adults and 
also interesting to and wholesome for boys 
and girls of High School age. 

Family audience, including children. 
Pictures acceptable to adults and also in- 
teresting to and wholesome for boys and 
girls of grammar school age. 

Mature audiepce. Pictures recom- 
mended for the consideration and enjoy- 
ment of adults. 

Note: — Programs for Junior Matinees 
should be selected from pictures in the 
family audience classifications. 

* — Pictures especially interesting or well 
done but not necessarily "exceptional." 

Aloma of the South Seas 

Directed by Maurice Tourneur 

Featuring Gilda Gray 

Play by John B. Hymer and Le Roy 
A MID the tropical growth of the South 
■^ '■ Seas love and romance abound. A 
young man who has had love reverses 
comes here to forget and he is loved by a 
native girl whom, against the advice of the 
other whites on the island, he decides to 
marry. At the eleventh hour, his former 
fiancee comes to the island, and when the 
island girl finds out how much the two 
love each other, she willingly gives him up. 
The picture holds the interest and the 
scenes of the island and the surf are very 

For the mature audience. 

(Paramount — 9 reels) 

*The Bat 

Directed by Roland West 

r , ■ {Entity Fitzroy 

teaturing ^' , .' „ ' 

(Louise tazenda 

Play by Mary Roberts Rinehart and 
Avery II opuood 
\ /f ^ S '1" K R V melodrama centering 
^^ '■ around the elusive criminal known 
as "The Bat." He turns his activities to 
a lonely Long Island estate just when a 
spinster from New York with her maid, 
"Lizzie," has gone there for a period of 
quiet, which accordingly she docs not get. 
More and more people arrive, cltiier ac- 
complices of "the Bat" or to capture him, 
maybe he himself, nobody knows, but thrill 
follows thrill until finally the real vlllian 
is exposed. Good cntirtalnment of mvs- 

ter) and comedy combined, with eerie at- 
mosphere well carried out. 

For the family audience including young 

(United Artists — 9 reels) 

Broadway Gallant 

Directed by Mason Noel 

Featuring Richard Talmadge 

Original screen story by Frank Clark 
""PHE ne'er-do-well son of a wealthy 
^ man, bored with life, one day finds 
plent)' of excitement when he sees his girl 
kidnapped and starts in pursuit. During 
this pursuit our hero accomplishes many 
acrobatic stunts, both amusing and hair- 
raising. Of cotirse the villains are caught 
and the hero and heroine united to the 
satisfaction of all. 

For the family audience including young 

(F. B. 0.-6 reels) 

Brown of Harvard 

Directed by John Conway 

fli'illiam Haines 

Featuring \Mary Brian 

[Jack Pick ford 
Play. "Broivn of Harvard," by 
Rida Johnson Young 

JOHN BROWN proves to be a parti- 
cularly fresh freshman at Harvard and 
disgraces himself In the Yale-Harvard 
boat race on account of having gone on a 
spree the night before. The next year he 
takes stock of himself and makes good on 
the football team in a crucial game. An 
entertaining picture of college life show- 
ing how a boy slowly grows to man's es- 

For the family audience including young 

(Metro-Goldwyn — 8 reels) 

The Cohens and the Kellys 

Directed by Harry Pollard 

(Charles Murray 

Featuring -j George Sidney 

\ T'cra Gordon 
Play by Aaron Hoffman 

A HILARIOUS picture of an Irish and. 
■''■ a Jewish family all of whose respec- 
tive members, Including the dogs, fight 
with each other at the least provocation. 
Irish son and Jewish daughter, however, 
fall in love and are secretly married. The 
nilx-up of an inherited fortune together 
with the young couple's baby brings the 
families together. The treatment of the 
story frequently runs to burlesque but the 
picture has undoubted entertainment qual- 

ities for those who have always liked the 
stock forms of Irish and Jewish humor. 
For the family audience Including young 

(Universal — 8 reels) 

The Dice Woman 

Directed by Edward Dillon 

Featuring Priscilla Dean 

Original screen story by Edward Dillon 
A SPOILED young society girl unwit- 
■'*■ tlngly becomes involved with a gang of 
thieves who plant a stolen automobile and 
some jewelry on her. She jumps a steamer 
as a stowaway and arrives at an Oriental 
port, still thinking she is followed by de- 
tectives. Her father's representative falls 
in love with her and after considerable 
difficulty rescues her from the clutches of 
an Oriental despot. 

For the mature audience. 
(Producers Distributing — 6 reels) 

Dude Ranch 

Directed by llbert Rogell 

Featuring Art A cord 

Original screen story by Josephine Dodge 
AlyTESTERN romance of a young fore- 
' ' man of a ranch whose ideals of wo- 
manhood are shattered by the flappers who 
Infest the ranch. He is finally won by 
the most self-centered and spoiled of the 
flappers. The technical handling and 
photography are good. 

For the family audience including young 

(L'niversal — 5 reels) 

Ella Cinders 

Directed by Alfred E. Green 

Featuring Colleen Moore 

Newspaper comedy strip by JVilliam 

Conselman and Charles Clumb. 
pLLA CINDERS is a modern Cin- 
■'— ' derella, a little drudge, working from 
morning to night, her only friend the ice 
man, who plays the fairy prince. She en- 
ters a beauty contest in her small town, 
and wins the money to go to Hollywood to 
enter the movies, not because she is beau- 
tiful but because she is funny. After many 
difficulties in Hollywood, she does get into 
the movies, but her ice man friend who is 
really a Prince Charming, comes to Holly- 
wood and carries her of? to his castle. The 
acting of Colleen Moore as the little 
drudge is excellent and there are some 
clever comedy situations. 

For the family audience, including chil- 

(First National — 7 reels) 

May-June, Nineteen Ticenty-six 


Fascinating Youth 
Directed by Sam JCood 

,. . {Graduates of the 

r eaturina , „ . c i i 

(raramount bcnool 

Original screen story by Byron Alorgan 
I "HE son ot a wealthy man, living in 
•*■ Greenwich N'illage, is in love with an 
artist of the \'illage, but is being forced 
by his father to marry a scheming young 
girl to whom he had become engaged. His 
father, owner of many hotels, sends his 
son to a hotel in the Adirondacks which 
has always been a hoodoo, with the under- 
standing that if he makes good there, he 
can marry the girl of his choice. He and 
his Village pals with the aid of some of 
the Movie stars, make a success of the 

The picture is unique due to the fact 
that though there are in it eight stellar 
stars of the Silver Screen, they are all in- 
cidental to the picture, the leads being 
taken by the first sixteen graduates of the 
Paramount school. 

For the family audience including young 

(Paramount — 7 reels) 

Glenister of the Mounted 

Directed by flurry G arson 

Featuring Lefty Flynn 

.Magazine story by Arthur Guy Enipey 

^ to run down a murder suspect and 
the woman with him in the wilds of the 
Northwest. He makes them his prisoners 
and falls in love with the woman, bringing 
both back to the post after running the 
gauntlet of a forest fire. Spurred by his 
love for the woman and intrigued by the 
man's frankness and lack of anything like 
a guilty conscience, he sets out to unravel 
the mystery further on his own initiative. 
He studies the man who made the murder 
charge and by an ingenious reconstruction 
of the crime proves that the accused is in- 
nocent and also the girl, who turns out t • 
be the sister of the man. 

For the general audience. 

(F.B.O.— 6 reels) 

Hard Boiled 

Directed by J. G. Bly stone 

Featuring Tom .Mix- 
Original screen story by Charles Darntoti 
T^OM MIX drops the heroic for the 
amusing mood as he burlesques some 
of his own stuff. Sent to a Western ranch 
hotel by his rich uncle in order to see why 
the patronage is falling off, he realizes 
that what the guests want is some "real " 
Western stuff as they are used to it in the 
movies. He decides to let them have it. 
stage coaches, Indian attacks and all. and 
soon has the hotel overflowing. Among 
the guests is a band of thieves who at- 
tempt to rob the hotel safe, but he, aided 
by a most amusing bell hop, rounds them 
all up and also proves to the girl in the 
case that he loves only her. 

For the family audience including young 

(Fo\ — 6 reels) 

Hell Bent Fer Heaven 

Directed bv J. Stuart Blackton 

r . ■ \Pats\ Ruth Miller 

leaturing , , " ,, 

(John narron 

Play by Hatcher Hughes 
Tir XCF'XLENT characterizations of the 
— ' Southern mountaineer in a story of 
the revival of an old feud by a religious 
fanatic. He pretends to be good and help- 
ful to the people for whom he works, but 
in reality stirs up trouble at every turn to 
get for himself the girl engaged to a sol- 
dier, just returned from overseas. The 
climax comes with a realistic flood which 
sweeps everything towards a very thrilling 
and satisfactory ending. 
For the general audience. 
(Warner — 7 reels) 

*Her Big Night 

Directed by Melville Brozvn 

Featuring Laura La f-'lante 

Story "Doubling for Lora" by 
Peggy Gaddis 
/'^OMEDY romance of a shop girl who 
^-^ has one exciting night when she makes 
a public appearance at a motion picture 
theatre, in place of the star who has been 
delayed on a yachting cruise. The strong 
resemblance between the shop girl and the 
star is noted and made use of in order that 
there will be no scandal connected with 
the star. For this appearance in public, 
the girl is to receive a thousand dollars, 
which she wants in order that her sweet- 
heart can buy the business he is in and 
they can get married. 

Complications are in order when the boy 
attends the performance and sees his girl 
elegantly dressed departing in a taxi with 
a man. He follows her and the scenes in 
the apartment of the star are both clever 
and comic. In the end the real star ap- 
pears and satisfactory explanations are 
made. Laura La Plante plays well the 
double role of shop girl and actress. 

For the general audience. 

(Universal — 8 reels) 

High Steppers 

Directed by Edzvin Careive 

,■ . ■ {Lloyd Hughes 

lentunna \ nt ' j , 

[!\lary Astor 

X'lvel. "Heirs Apparent !' by 

Sir Philip a,bb< 
"V'OUTH in England after the war fails 
to heed its responsibility hut is jazz 
mad. The son and daughter of one fam- 
ily have no more serious thoughts than 
parties and pleasures while the father toils 
on as editor of a paper in whose policy he 
has no sympathy, in order to support his 
expensive family. The son finally wakens 
to his duty and as a reporter on another 
paper uncovers a fraud worked upon the 
war widows and orphans by the owner of 
his father's paper thereby freeing his 
father and bringing happiness to all 
through a realization of the true values of 
life while he finds joy with the earnest lit- 
tle stenographer who aided him. 

For the family audience including young 

(First National — 7 reels) 

The Love Thief 

Directed by Jolm McDermott 

r , {Norman Kerry 

r eaturing ', ,,. ' 

(Ureta I\issen 

Story by Margaret Mayo 
A RO-M.A.NCE of two small kingdoms in 
■'^ Europe that have been at war with 
each other for years. To bring about peace 
a marriage is arranged between the Prince 
of one and the Princess of the other. The 
Princess, posing as her cousin, wins the 
love of the Prince and he at once renounces 
the throne and the Princess for love, which 
is the first real love to enter his flirtatious 
life. He discovers his mistake in time and 
things turn out all right for him and the 
Princess. The produc;ion is well directed 
and the acting good. 

For the family audience, including young 

(Universal — 7 reels) 

The Lucky Lady 

Directed by Raoul Walsh 

,. , . {Greta Nissen 

leaturing \ n/ir n tr i 

fllilliam Collier, Jr. 

Original screen story by Robert Sherwood 
and Bertram Block 
I "ELLS of the tribulations of a Princess 
of an imaginary kingdom who is being 
forced into marriage with a dissolute 
Prince for political reasons, when she is 
in love with a young American. She man- 
ages to foil all the plans for her political 
wedding and, disguised as a woman of 
mystery, she runs off with the American 
across the border where they are free to 
marry. The picture is well directed, and 
the settings are lovely. 

For the family audience including young 

(Paramount — 6 reels) 

Men Women Love 
Directed by Hugh Dierker 

,. , \Sigrid Holmquist 

/■ enturinq i x'-i iir i i 

^ li^iles IF els h 

True Story .Magazine story by 
LeiL'is Allen Browne 
I "HE hero is compelled to marry in a 
hurry in order to inherit a fortune and 
has recourse to a matrimonial agency. He 
dismisses the girl as soon as they are mar- 
ried and then falls in love with her without 
knowing her identity after she has become 
a famous opera singer. She finally makes 
herself known to him and all ends happily. 
Good social comedy. 

For the family audience including young 
(McFadden True Story Pictures — 6 reels) 

Mile. Modiste 

Directed by Robert Z. Leonard 

(Cnrinne Griffith 

Featuring ^ If'illard Louis 

[Norman Kerry 

Operetta by Henry Blossom 

A LIBERAL adaptation of the popular 

•'*^ operetta. Hiram Bent, a wealthy 

banana king from St. Louis, goes shopping 

in Paris with his rather unattractive wife 


?\ATioNAi. Board of Review Magazine 

and lots liis eyes rest lOiidlv on Fid, a 
young dress model. Hf tries to do his best 
for the little t;irl in the most paternal way 
by setting her up in a fashion shop of her 
own, but pets into trouble with a dashing 
French officer who has fallen in love with 
Fifi. The idea of lighting a duel is not 
at all to his liking and he is greatly re- 
lieved when Fifi comes to his rescue by 
convincing the officer that she is all that 
she should be. The incidents of the plot 
provide a number of good comedy situa- 
tions in which Miss Griffith and Mr. Louis 
share the honors. 

For the general audience. 

(First National — 7 reels) 

picture holds the interest throughout. 
For the general audience. 

(Universal — 8 reels) 

*Oh Baby! 

Dirrcliil h\ Hnrlty Knmclcs 

Featurhnj "Little Bills'' 

Original siritn story by Harley Kiiotvles 
"T ITTLE BILLY," an actor of mid- 

^— ' get proportions, plays the part of a 
famous fight promoter with a prospective 
world champion on his hands. A friend of 
his persuades him to impersonate a little 
nine year old girl in order to deceive his 
rich aunt. The aunt arranges a children's 
party for him and gives him a particularly 
handsome nurse. After he has been tucked 
to bed he makes his get-away and arrives 
at Madison Square Garden at the very 
climax of the fight. The frantic aunt 
comes in hot pursuit thinking he has been 
kidnapped. Little Billy's impersonation of 
the girl is most amusing throughout. 

For the family audience including chil- 

(Universal — 7 reels) 

Old Loves and New 

Directed by Maurice Tounteur 

„ . ^Lewis Stone 

^ I Barbara Betlf'/rrl 

Novel "The Desert Healer" by E. M. I full 
A N Englishman returning from the war 
•'*• crippled, comes home to find that his 
wife has run oft with another man, and his 
son has died. He decides to take up work 
on the desert as a healer, and so hating 
all women, he spends his days in service, 
until later he finds a new romance with 
the widow of the man who caused his un- 
happiness. The story holds the interest 

For the mature audience. 

(First National — 8 reels) 

The Old Soak 

Directed by Edward Sloman 

Featuring Jean Herslioll 

Play by Don Marquis 
INTERESTING character study of an 
^ old man, who likes his liquor. With his 
family, he lives in a small town near New 
York. The son pretends to be wealthy 
to win a chorus girl, and gets into trouble 
because of her. The "Old Soak's" pious 
brother-in-law, turns out to be a boot- 
legger, and in the end he is shown up, the 
boy wins the girl and the "Old Soak" re- 
forms. The acting of Jean Hersholt as 
the lovable old man is excellent and the 


Directed by Edmund (iouldinff 

,, , . i (-liarles Ray 

r eatunno < , /, ', , 

{Joan (.raufora 

Original screen story by Edmund (iouldinij 
<<pARIS" is a romance in the Apache 

^ quarters of Paris where a young 
American with few brains but plenty of 
money, goes to find adventure and love. 
A young Apache girl, persuades "her man" 
to give himself up to the police as she is 
tired of living in the shadow of the law 
and he is sent to jail. Although the girl is 
lured by the wealth of the young American 
she remains true to "her man". 

The story is the old trite one in the dens 
of the Apaches, but the acting of the two 
Apaches is above the average. 

For the mature audience. 

( Metro-Gold wyn — 6 reels) 

Ranson's Folly 

Directed by Sidney Olcott 

Featuring Richard Barthelmess 

Novel by Richard Harding Davis 
A N entertaining story of life in a Wes- 
-^^ tern Army Post, during the uprising 
of the Indians. A young officer, impulsive 
and devil-may-care, holds up the stage on 
a bet with his brother officers. All might 
have been well if it had not happened that, 
the pay-master was also held up that night 
and his bodyguard killed. Ranson's com- 
rades think he did this also, but during the 
court martial, a message comes from a dy- 
ing man confessing the hold-up of the pay- 
master, so Ranson is exonerated. The 
production is well directed and the acting 
good, also the costumes of the eighties are 
well portrayed. 

For the family audience, including young 

(First National — 8 reels) 

Rolling Home 

Directed by H'illiam Setter 

Featuring Reginald Denney 

Original screen story by 

John Hunter Booth 
A YOUNG man who hasn't been to his 
-■^ hometown since the war, and who 
has allowed the folks back home to believe 
that he has amassed a fortune, decides to 
visit his mother on her birthday. Aided by 
his buddy, who is chauffeur for a wealthy 
man, he rolls home in the Rolls Royce of 
the wealthy man. The town turns out to 
meet its leading citizen, and he is forced 
into buying the franchise for the water 
ways, which is coveted by a Boston firm. 
He gets out of his difficulties, which in- 
volve his phony check for the water ways, 
by re-selling the franchise, and though the 
town learns he is penniless, he is set right 
in their eyes by his clever turning of the 

For the family audii'nce including 
young people. 

(L'niversal — 7 reels) 

Say It Again 

Directed by (iregory Lacava 

Featuring Richard Dix 

Original screen story by Luther Reed 

and Ray Harris 
A N American dough-boy falls in love 
■'*■ with his nurse in a small European 
country and on the day his bandages are 
to be removed, the nurse is spirited away. 
The next two years are spent by the hoy 
in searching for the girl. He at last finds 
her. a Princess of royal blood. Not being 
able to speak the language of her country 
or to understand it and trusting entirely 
to his buddy, he finds himself in plenty of 
trouble, and at last discovers he has been 
married to the Princess at some odd cere- 
mony that he believed was to welcome him. 
The picture has plenty of "pep" and some 
good comedy parts, the manners and cus- 
toms of these people as seen by the dough- 
boy adds to the comedy of the picture. 

For the family audience including \oung 

(Paramount — 8 reels) 

The Shamrock Handicap 

Directed by John Ford 

\J. Farrell MacDonald 

Featuring { Leslie Fenton 

\ Janet Gaynor 
Original screen story by Peter B. Kyne 

NEIL ROSS, a young groom on an im- 
poverished Irish estate comes to the 
United States at the suggestion of an 
American horse fancier and becomes a suc- 
cessful jockey. Later the lord of the 
manor and his daughter Sheila with whom 
Neil is in love, join him. They have 
brought their last and favorite horse with 
which they hope to retrieve the family for- 
tune. Neil has been hurt while racing, 
through the jealousy of a rival jockey but 
at the last moment, he rides the horse to 
victory despite his painful injuries. The 
winnings from the race enable all to make 
their wishes come true. An entertaining 
story of Irish luck and Irish light-hcarted- 

For the family audience including young 

(Fox — 6 reels) 


Directed by Victor Schcrtzinger 

\Alma Rubens 

I- '"""■'•'» \Lou Tcllegcn 

Play by Barlley Campbell 

AC^RIM melodrama of pre-war Rus- 
sia telling a story of aristocratic 
youth exiled to the cruel life in the wastes 
of Siberia, for their liberal beliefs. Sonia 
and her brother, influenced by the teach- 
ings of Tolstoi, leave their luxurious home 
to live among the peasants and teach them. 
A revolutionary firebrand is in love with 
Sonia and tries to win her over to the doc- 
trine of violence. The village is raided by 
the Czar's troop and the girl in self-de- 
fense horsewhips the captain and is rescued 
from him by a young lieutenant. The 
brother and sister are sent to Siberia as 
political prisoners — revolutionaries. They 
are forced to go on foot, under the leash 

M (ly-J tiiir, Xiiifti'fii Tueiity-six 


ot the brutal soldiers, and there iilaced In 
Military tonlirUMiieiU thev are almost herelt 
cjt their reason. Sonia Is iloubly punished 
because the captain she had ijisulted is in 
command. The lieutenant. \w\\ in the 
World War. arrivin;; from the tront 
avenf;es the insult upon Sonia and tor this 
he is to be executed, but the two make a 
wild escape. The action is swift moving 
and the story is gripping in its realism and 
sincerity. It is authentic in theme, a tragic 
chapter torn out of a disgraceful and un- 
happy phase of Russia's history. The 
characterization is well done and the 
photography is good throughout with. some 
exceptionally fine outdoor scenes well con- 
veying the isolation and dreariness of the 
exile's life. 

For the- mature audience. 
( Vox — 7 reels) 


Dincliil h\- Rupert Jiiliiin 

\H. B. Ilani.r 

l'""">"9 \J-era Reyn„l,h 

I'liiy hy Mux Mtirciii 
/'"^OOD melodrama In which a man 
^— ' about to be hung for a murder he did 
not commit is being urged to break his 
long silence and with his brain and soul 
in a torment, the scenes of the past twenty 
years leading up to the murder are visioned 
by him. This vision takes him back to a 
saloon on the East Side, where it shows 
him involved in the clutches of the law 
and, to save his young wife who is about 
to have a child, from going up the river, 
he is forced to renounce her and stand 
silently by while he sees his rival carry 
her off. Deciding to go straight, he spends 
years looking for his wife, and finally lo- 
cating her out West, happily married to 
his rival, he visits the town each year to 
see her and his daughter without showing 
himself. After his wife has died, he tries 
to prevent his daughter's knowledge of 
himself, hut fails and, when she murders 
the man who slandered her dead mother, 
he takes the blame. The vision fades and 
he is once more in his cell about to be 
hung. Silent to the end, he is saved by his 
former rival at the last moment. 

The production holds the interest 
throughout and the direction and acting 
are far above the average. The back- 
ground of twenty years ago is well carried 

For the mature audience. 
(Producers Distributing — S reels) 

Silken Shackles 

Diri'ilfi/ In Holler Morosci 

,. {Irene Rich 

\tiuntly Kiuratin 
Original screen story hy II alter Alornscd 

A YOU.NG and attractive wife, who 
•'^ finds time hanging heavily on her 
hands because of her too busy husband, 
amuses herself with innocent flirtations. 
Thus one day, she believes she has fallen 
in love with a young violinist posing as a 
count who has lost his fortune in the war. 
The husband decides to break his wife of 

the habit of falling in and out of love, and 

so at a very important social dinner given 
fur the count-violinist, the husband ap- 
pears on the scene with the count's family, 
a peasant man and his «-ife and two chil 
dren, thereby proving the count a fraiul. 
.-\ reunion of the husband and wife follows. 
l-"or the general audience. 

(Warner — 6 reels) 


Directeil hy H illiiiiit Hiauilini 

I'entiiriny Mary Pick ford 

Orii/inal screen story hy 11 inifred Dunn 
A N old couple, criminally inclined, keep 
•'*■ a farm for babies, in the swamps. 
Some of the babies are paid boarders and 
some are kidnapped and held for ransom. 
The swamp is a veritable quagmire and 
when a child gets too old to be kept in 
ignorance of the place he is quietly dis- 
posed of by means of the bog. The chil- 
dren, led by the oldest child, played by 
.Mary Pickford, finally escape, risking their 
lives many times amid the treacherous 
bogs and crocodiles. Although a story 
telling of the lives of children it is so dis- 
tressing that it would not be good enter- 
taiimient for children. 
For the mature audience. 

(United Artists — 9 reels) 

That's My Baby 

Directed hy U'llltani Beaudinc 

Featuriiiij Douglas AlacLean 

Orit/inal screen story hy George J. ('oliaii 

and Hade Boteler 
A VOUNG man jilted by his girl de- 
'*• cides to keep away from the fair sex. 
Having made this decision, he immediately 
encounters a young and pretty maiden with 
whom he falls in love. After many amus- 
ing happenings at a bazaar, and a wild ride 
in an aeroplane, and being accused of kid- 
napping, our hero finally wins the girl, con- 
vinces the parents he had not kidnapped 
their child, and finds favor in the eyes of 
the girl's irate father, fiood comedy. 

For the family audience including chil- 

(Paramount — 7 reels) 

Tony Runs Wild 

Directeil hy Thonins B uckint/ha/n 

l-'enturinci Tom Alix 

Orii/innl screen story hy Henry Kihbs 
A WESTERN drama of a wild horse 
■" ' named Tony, who is captured by a 
rancher and presented to his fiance. The 
plot is trite but the wild horses, of whom 
Tony is the leader, lend life and action 
to the production. 

For the family audience including young 

( Fox — 6 reels) 

The Unknown Soldier 

Directed hy Renaud Hoffman 

., \ Charles E. Mack 

]Marguerite de la Molte 

Original screen story by James J. Tynan 
A \ improbable and sentimental story of 
■'' a young soldier who meets the girl he 
loves from his home town and marries her 

iin the eve of b.ittle. 'I'hey are parted by 
the lortLNies ot war, he being given up for 
dead and in the meanwhile she becomes a 
mother. 'File chaplain who married them 
turns out to he a renegade deserter so that 
the marriage is illegal. She suffers social 
disgrace as a wife in name only, but re- 
fuses to believe that he is dead and has 
her faith gloriously vindicated when he 
returns, after a long siege of amnesia on 
the very day of the Unknown Soldier rites 
at Arlington Cemetery. 
I'or the general audience. 
(Producers Distributing — 8 reels) 

lent uruii/ . 

'■'The Volga Boatman 

Directed hy Cecil B. DeMille 

\llilliam Boyd 

I Elinor Fair 

Novi'l hy Konrad Bercovici 
A VIVID, highly dramatic love story 
^^- told against the background of the 
Russian Holshevik Revolution after the 
Great War. A Volga boatman elevated to 
an important position by the fortunes of 
the revolution finds himself fascinated by 
a Russian princess despite his avowed 
hatred for all members of the aristocracy. 
He saves her from death at the hand of 
the revolutionists and is in turn threatened 
with execution by Prince Dimitri to whom 
the girl is engaged. In the final social 
eruption of the revolution he and the girl 
cast their lots together while the Prince 
goes into exile. 

For the general audience. 
(Producers Distributing — 11 reels) 

Wet Paint 

Directed hy Arthur Rosson 

Featuring Raymond Griffith 

Original screen story hy Arthur Rosson 
'"PHERE is a foreword to "Wet Paint" 
to the effect that this is a play by 
William Shakespere. "Much Ado About 
Nothing," and that is what it is. For six 
reels, the hero is in constant trouble with 
his girl and with his power of locomotion, 
caused by too much libation. He is being 
pursued by a dizzy blond and a stout lady. 
In the end. he is married accidehtly to the 
right girl and the picture fades with the 
proverbial kiss. Good, fast-moving, laugh- 
provoking comedy. 

I'or the general audience. 

(Paramount — 6 reels) 

The Yellow Back 

Directed hy Del Andreivs 

I'eaturing Fred Humes 

Original screen story hy Del Andreu'S 
A N exciting story of the wild and woolly 
•'^ West. A cowboy, for some unknown 
reason, afraid of horses, finds it hard to 
keep a job on account of this. He falls in 
love with the daughter of a rancher, and 
when the ranch is staked on their horse 
winning a race, the cowboy overcomes his 
fear, and rides the horse to victory. The 
camera is placed in positions to derive the 
most thrills from the race. 

For the family audience, including young 

(Universal — 5 reels) 


N'atiovai. Board of Rhvifw ^[\(■.\/l^■H 


*Canary Islands 

Shouiiij; the l)c:iiitics nt tllr Canary 

l'"or tile taniil> audipiKc iiuliidint; chil- 

(Kox— 1 reel) 

The Doctor 

llic story uhiill inspired tlie painting 
"'rile Doctor" hy Sir Luke Fildes. 
lor the general audience. 

(Cranlield and Clarke — 2 reels) 

Heroes of the Sea 

Deep sea-fisllint; in the North Seas and 
the dan{;ers the tishcrnien undergo. 

For the fannly audience iiuludin;: chil- 

(Cranfield and Clarke — I reel) 

Jack of One Trade 

(Sportlifjht series) 
The picture shows that proficiency in 
any sport requires years of training. 

For the family audience including young 

(Pathe— 1 reel) 

Keeping in Trim 

(Sportlight series) 
The picture emphasizes the necessity of 
exercising to keep fit in all walks of life. 
For the family audience including young 

(Pathe— I reel) 

*Pathe Review No. 15 
Fort Marion, St. Augustine, Florida; 
Aerial maneuvers in San Francisco Bay; 
A mansion in Morocco, residence of a 
.Moorish Potentate. 

For the family audience including young 

(Pathe— I reel) 

*Pathe Review No. 16 

See .March Photoplay (juide. 

*Pathe Review No. 17 

Sea-going elephants; A colonial capital, 
Saigon, I'rench Indo-China; Kxcavations 
at Ancient Carthage. 

l'"or the family audience including ihil 

(Pathe— 1 reel) 

*Pathe Review No. 18 

Cockatoos and their cousins in the role 
(jf household pets; The miracle of heat 
(Tolhurst microscopic) ; Leland Stanford 
I'niversity (Color). 

For the family audience including chil- 

(Pathe— 1 reel) 

*Pathe Review No. 19 
The Danuhe's course through the .Aus- 

trian Wachau ; Tuinhling Tricks in an out- 
loor gymnasium; .Ancient (ireece today 

I'or the family .ludience including chil- 

(Pathe— 1 reel) 

I'or the family audience including ytuing 
;>( itple. 

(Pathe— 1 reel) 

*Pathe Review No. 20 

Head over heels, P.irisian millinery dis- 
play; Sidelights on Auvergne, |- ranee ; On 
thin ice, a novelty. 

For the family audience including chil- 

(Pathe— 1 reel) 

Songs of Scotland 

Illustrated Scottish airs. Pictorially 

I'or the family audience including chil- 

(Pathe— I reel) 

* Pathe Review No. 21 
h'eathered flshernu-n, Chinese Cormo- 
rants in action; The man the Desert (Jot, 
|)ictorial interpretation of the poem by 
.Arthur Chapman; American excavations 
;it Ancient Carthage. 

For the family audience including chil- 

(Pathe— 1 reel) 

Sweden Today 

Interesting \iews of Sweden and the 
system of inland canals. 

Iiir the family audience including chil 

( l-'ox — 1 reel) • 

The Trail of the Gods 

Scenic of the Alps with picturesque 
cloud effects. 

For the family audience including chil- 

(Cranfield and Clarke — 1 reel) 

'* Pathe Review No. 22 
Some ways of using a uhip that Simon 
I.egree never heard of; Wonders In wood 
('Folluirst microscopic); College of the 
City of New '\'ork (color). 

For the family audience including chil- 

(Pathe— 1 reel) 

* Pathe Review No. 23 
Where East meets West, in Hawaii; 
Princeton University (color) ; A Califor- 
nia hatchery of Rainhow trout. 

l-'iir the family audience including chil- 

(Pathe— 1 reel) 

* The Vision 

IriituntKj , 

\John Koach 

An imaginative presentation in techni 
color, of Sir John Millais' inspiration when 
he painted his famous picture, "Speak I 

For the family audience including young 

(Fducational — 2 reels) 

* Pathe Review No. 24 

Springboard Fever, acrobatic aeronau- 
tics; Harvest Hounty, bringing in the fruit 
crop in the Antilles; The Sky 'Frail, per- 
ilous paths through the Alps. 

I'nr the fainilv audience including chil- 

(Pathe— I reel) 

* Wild America 
(World We Live In Series) 
Fxcellent scries of views of America's 
national parks and reservations showing 
niany natural wonders. 

I'or the family audience including chil- 

(Fox — I reel) 

The Planting Season 

(Sportlight series) 
Emphasizing the necessity of beginning 
.'irhletic training at an early age. 

l''or the family audience including chil- 

(Pathe— 1 reel) 

Wonders of the Wilds 

I'.ntertaining and instructive travelogue 
among out nf-the-way places. 

I'or the faniilv audience including chil- 

(Rurr Xickle — b reels) 

The Range Terror 

Western romance with the hero named 
the "'Ferrnr" saving women and catching 

I'or the family audience including young 

( Universal — 2 reels) 

Animated Hair Cartoon 

One of .Marcus cartoons in which the 
details of a person's features are re 

(Red Seal—'.; reel) 


.A juvenile comedy of a "gang" that have 
a secret club with initiations anil every- 
thing amusingly done. 

(Educational — 2 reels) 

Revolutions Per Minute 

(Sportlight series) 
.Autouudiile and motor boat racing. 

Buster's Sleigh Ride 

i'ciiluring hlhiir Trimhlf 

Huster and his dog romp around in the 

May-J unc, S'iiirlcrii Tuciitx-stx 


North ill hiiilily aimisliv fasliioii. 
( Universal — 2 reels) 

Dinky Doodle in the Wild West 

DiiiiiV Doiullr has hilarious adventures 
among the Indians, animated cartoon. 
(F. B. O.— 1 reel) 

Eight Cylinder Bull 
Good slapstick ot a salesman for used 

(Fo.\ — 2 reels) 

*Felix the Cat Misses the Cue 
l"eli\ cets into trouble with some 
Chinese laundrymen and digs his way 
through the earth only to come out into 
China and more trouble. 

( Kdiicational — I reel) 

Felix the Cat Uses His Head 

l'eli\ is hungrv and has to forage for 

(Educational — 1 reel) 

* From A to Z in Filmdom 
(Hodge-Podpe Cartoon Series) 

Dirrrtcit by Lyman H . Hrnic 

.\n aniusing picture for children illus- 
trating the letters of the alphabet with 
whimsical scenes from all over the world 
and numero\is comical cartoon effects. 
( i'.ducational — 1 reel) 

His Private Life 

Fialinhiii l.upiiKi Lane 

Comedy of a man who. drafted into the 
armv. finds that his former valet is his 
drill sergeant and he has a hard time as a 
rookie private. 

(Educational — 2 reels) 

Love's Hurdle 

Fcaturinri Charles Kinij 

An impoverished shoe cleric as a social 
climber gets into amusing situations. 
(Universal— 2 reels) 

For the family audience including chi 

The Merry Widower 

\ Ethel Clayton 
t''<"i"-"'9 \Jimmie Finlayson 

Slapstick comedy of a husband who pre- 
tends to drown himself and reappears as 
an Oriental crystal gazer. 

(Pathe — 2 reels) 

*Mighty Like a Moose 

Featuring Charlie Chase 

Excellent comedy plot in which an ugly 
wife and ugly husband are made over by 
beauty specialists and have a gay flirtation 
before they recognize each other, 
(Pathc — 2 reels) 

The Prodigal Bridegroom 

Featuring/ Ben 'Furpui 

Engaged to the ugly duckling of the 
town he wants to marry a vamp hut the 
girl has her face lifted and he is stung. 
Slapstick comedy. 

(Path. — 2 reels) 

Rah! Rah! Heidelberg 

Featuring F.arle Foxc 

Story hy Rieharel Harding Davis 
Van Bibber as a student at Heidelberg 
is mistaken for a Crown Prince and gets 
involved in a duel. 

(Fox — 2 reels) 

Why George 

Entertaining comedy of twins, a xvcak- 
ling and a prize tighter. 

(Ihiiversal — 2 reels) 

For the family audience including young 

National Council 

The Better Films National 
Council of the National Board of 
Review is promoting the Better 
l'"ilms .Mn\ement. ami disseminat- 
ing information about the better 

•Membership in the National 
Council is open to all, under three 
classes of membership — Associate, 
Cooperating and Club. 

Associate — $2 per \car, entitles 
tiie members to receive the regular 
monthly publication. 

Cooperating — $10 per year, de- 
\ised for those who wish to gi\c 
soiTie financial aid to the work for 
better films; it entitles the mem- 
bers to recieve special publications 
and services in addition to the reg- 
ular monthh magazine. 

Club — $1 per year for each 
member of local groups affiliating, 
which entitles these groups to re- 
ceive the regular monthh' publica- 
tion for each member and one cop\ 
of the regular wcekl\ publications 
for the club. 

New York Addresses 

Arro« Pictures Corp., 

220 West 42nd Street. 
Associated Exhibitors, Inc., 

35 West 45th Street. 
Astor Distributing Corp., 

1540 Broadway. 
Atlas Distributing Corp., 

723 Seventh Avenue. 
Banner Producers, 

1540 Broadway. 
Burr Nickle, 

341 West 45th Street. 
Capital l-'ilm Co., Inc., 

729 Seventh Avenue. 
Chadwick Pictures Corp., 

729 Seventh Avenue. 
Columbia Pictures Corp., 

1600 Broadway. 
Cranfield and Clark, Inc., 

729 Seventh Avenue. 
Davis Distributing Division, 

218 West 42nd Street. 
Educational Film Exchange, 

729 Seventh Avenue, 
famous Players-Lasky Corp., 

485 b'ifth Avenue. 
1' iliii Booking Office, 

ISbO Hroaduay. 
I''irst National Pictures, Inc., 

383 .Madison ,'\vrnuc. 
I'ox I'ilm Corp., 

850 'Fenth Avenue, 
lans Productions, 

lUO Broadway. 
Lunias Film Corp., 

1650 Broadway. 
Metro-Cioldwvn-.Maver Pictures Corp., 

1540 Broadway. 
Paramount, see I'amous Players. 
Pathc Exchange, Inc., 

35 West 45th Street. 
Principal Pictures Corp., 

1540 Broadway. 
Producers Distributing Corp., 

469 Fifth Avenue. 
Rayart Pictures Corp., 

723 Seventh Avenue. 
Red Seal Pictures Corp., 

729 Seventh Avenue. 
B. P. Schulberg Productions, 

117 West 4Sth Street. 
Truart Film Corp.. 

1542 Broadway. 
Ufa Films Corp., 

1540 Broadway. 
United Artists Corp.. 

729 Seventh Avenue. 
Universal Pictures Corp., 
7.^0 Fifth Avenue. 
X'itagraph Co. of America, 

1600 Broadway. 
\'ital Exchanges, 

218 West 42d Street. 
Warner Bros. Pictures, Inc., 
1600 Broadway. 


Selected by the 


From pictures submitted for 
review in 1925 

Compiled by its 


for those interested in the 
Better Pictures 

T X tlic cicvcntli annual Catalog;- oi SELECTED 
PICTURES there, are listed T'IZ ])ictures selected as 
interesting', entertainins^", and wliolesonie, and ainon.i;- the 
"Better I'ictures" submitted l<» the Xatidiial Hoard of 
Re\iew t'nr consideration. 

The Xational Board ot' ]\e\-ie\v and its Better l'"ilins 
Xalional C'luncil enii)haNize the classilication accord- 
iiiii" to their txpe-ol-audience (age and group) suitability 
of all the selected pictures. 

The pictures are >clecled and classified tor 

1 he I'aniily F^rosrain 
Junior Matinees 
The General Audience 
The Mature Audience 

The price of the catalog is Twenty-five cents 

Orders for catalogs may be forwarded to 

The National Board of Review of Motion Pictures 

70 Fifth Avenue, New York, N Y. 




^ V> 

Vol. I, No. 3. 


A Plea for Honest Motion 

Exceptional Photoplays 


Nell Gwyn 

The Marriage Clause 

Better Films 

July, 1926 



Publisned montnly by the 


cents a copy 

Established by The People's Institute in 1909 
70 Fifth Avenue, New York, N. Y. 

$2.00 a year 

Contents for July, 1926 

Special Articles 

A Plea for Honest I\ lotion Pictures 

Dr. Alexander Arkatov 
Building Junior Programs 

Our Chairman Honored 

■' Activities of Better Films Committees. 

4 . 


The Marriage Clause. 
Nell Gwyn 

Exceptional Photoplays 

7 \'ariet\ 

Selected Pictures Guide 


Bigger Than Barnums. . . . 

The Brown Derby 

Footloose Widows j 

The Ice Flood 

La ddie 

The Lady of the Harem. 


Lovey IVIary . . . . 



The S avage ._ . ■ . . 
The Silent Fiver . 



Amidst the Million. 
In Sunny Spain. 

Pathe Reviews, Nos. 25 to 30. 

Non-Feature Subjects 


Peeking at the Planets. . . . 
Poland, a Nation Reborn. 


Short Comedies 

The Cat's Whiskers 

Dinky Doodle and the Little Orphan. 

Dinky Doodle's Bed Time Stor\ 

E.xcess Baggage 

11 Felix the Cat in School Daze. . . 

11 Felix the Cat Rings the Ringer. 

1 I Here Comes Charlie 

1 1 Snookum's Outing 


Copyriffht 1926, The Nrilion/i! Bijard of Review of Motion Pictures 

National Board of Review Magazine 

Associate lidilors 
Alfred B. Kuttner 
Wilton A. Barrett 


Associate Editors: 

Frances C., Barrett 

Bettina Gunczy 

A Plea for Honest Motion Pictures 


Dr. .{rkcilov, -lilio teas co-dirt'ctor of "I'lii' (.al>- 
met uf Dr. Calujari," has recently been sujited by 
I'referred Pictures and is preparing the script for 
''Studies in Jf'ives," his first American picture. 

HI" supposed Jemaiid for "rich pictures" 
is one of the most hampering requirements 
of the American market confronting the 
foreign director. The theatre-owner from 
wliose rentals the producer derives his profits is 
presumably more impressed by an enormous siiow 
of furniture than he is by a forceful story. Here 
indeed lies the reason for many of the absurdities 
perpetuateel on the American screen — absurdities 
which not only offend the sensibilities of the better 
classes here but carry into foreign countries false 
impressions of life in the United States. 

Abroad we believe that the story and the actors' 
method of telling it are the important things. Audi- 
ences are interested primarily in the dramatic inter- 
play of human emotions and come to picture houses 
expecting it — not expecting an exhibition of costly 
furniture and rugs. These dead elements are totally 
unnecessary to good motion picture technique. 

While preparing the script for Studies in Jf'ives, 
my first American picture, I told the producer that 
although the story develops in society drawing rooms 
I expected to avoid expensive settings. This appar- 
ently revolutionary statement was made in the pres- 
ence of one of the salesmen who promptly cast an 
alarmed look in my direction and cried out "Please 
don't let him do that; the exhibitor won't buy such a 
picture — or at best will offer a ridiculous price for 
it because he will say there was no money spent!" 

He explained further that the exhibitor knew what 
his customers wanted to see and that was rich bed 
rooms, drawing rooms with swimming pools or foun- 
tains and other nonsensical exaggerations. If there 
is any truth in this statement the exhibitor is abusing 
the taste anil intelligence of the public. Of course, 
I am a foreigner and ha\-e only been in the United 

States a short time but I know alreatly that the aver- 
age screen patron here is not stupid and is actually 
grateful when lie sees a good story sensibly put to- 

It has been my good fortune to visit the homes of 
several rich New Yorkers in the last few months, 
^'et at no social function have I seen a pool in the 
drawing room or a group of bathing girls mingling 
\\ith guests in formal dress — things which I have 
frequently seen in American pictures released abroad. 

IT is deplorable to spread all over the world such an 
erroneous impression of America. In Europe a 
great many people used to believe that American 
streets were paved with gold and that the people's 
greatest concern was spending it in the most idiotic 
fashion. American motion pictures unfortunately have 
gone far to re\"ive this foolish notion. "Parasites 
lavishly squandering gold" is a popular introduction 
for an American family on the American screen. 

But living here we witness every day how hard the 
people work — miners, office clerks, right up the so- 
cial ladder to the bankers themselves. Everybody, 
everywhere busy, busy, making money at the high 
cost of his physical or mental energy. 

Why cannot the American screen sincerely reflect 
American life? Why show to the world a fantastic 
America — why demonstrate an ugly falsehood before 
the eyes of those whose only dream is to come o\-er 
here? And why allow your pictures to spread the 
false impression about .\merican women implied by 
the much abused term, "vampires"? 

I admit that the .American movies of today are 
not a school of morals but are merely an industry, a 
factory; however film handling can be infinitely more 
(.lelicate, careful and intelligent. In Europe we built 
up an audience which appreciates a really good story, 
fine treatment and dramatic experiments. Why can't 
it be done here? The answer is — it can, and the 
film need not look like a furniture ilealer's wareiiouse 
■;i order to do it. 

Building Programs for Juniors 

MANY comnuinitics concerned witli the enter- 
tainment of their young people and chililrcn 
have committees which are assuming the re- 
sponsibihty of selecting motion picture programs tor 
the Junior matinees and are working in cooperation 
with the exhibitors in the selection of family pictures 
for exhibition on the week-ends. 

It is generally agreed that the responsibility must 
definitely rest with the parents, first, of determining at 
what age their children shall begin attending the mo- 
tion picture theaters; and second, of selecting the pic- 
tures which their boys and girls shall see. 

The Better Films Committees which are affiliated 
with the National Board of Review, are aiding in 
this community problem. 

in several cities Junior matinees are held every 
Saturday morning throughout the year. The plan. 
brieHy. is this: — there is a special committee on pro- 
grams which arranges for a prologue by school chil- 
dren, which selects a suitable motion picture, and pro- 
vides chaperones who are on hand from early morning 
urtil the last child has started home. Through the 
cooperation of all organizations in the community 
efiorts are made to have parents restrict the attend- 
ance of their young children to these programs. It 
is found that too frequent attendance at any form 
of amusement or entertainment during the school 
months is apt to interfere with the educational work 
of the child. On this basis, it is urged that parents 
send the boys and girls to the special matinee instead 
of allowing a promiscuous attendance during the 
sirhool days. 

Many thoughtless parents have allowed their chil- 
dren to go to the movies day after day without knowl- 
edge of the pictures being shown at that time, this 
too-frequent attendance of children at all types of 
pictures has invited a criticism of the motion picture 
which should have been directed against the parents, 
rather than the motion pictures. 

The motto of the National Board of Review and 
it- Better Films National Council is "Selection — not 
censorship — the solution." If parents would select 
suitable entertainment for their young people this 
problem would be solved. .And in some communities 
the selected programs which are being given under 
the auspices of the Better Films Committees are prov- 
ing the solution. 

Tn one city where matinees have been conducted 
for voung people for about two years, a check was 
made of the theater records of the juvenile attend- 
ance on the regular theater programs of the year pre- 
ceding the inauguration of the junior programs as 


compared with the second year ot the selected mati- 
nee ()rograms. 

It was found — first, that there was an increaseil 
attendance of chililren on what might be called fam- 
ily programs in the theater; second, there was a de- 
crease in attendance on the type of picture to which 
objection is usually registered regarding the showing 
to children. 

While some may perhaps regret any increase of 
attendance on the part of children on any motion 
pictures; all will agree that if the attendance has been 
decreased on the type of picture which is considered 
by so many as objectionable to children, then the 
Junior matinees have justified themselves. 

ONF", community has made wonderful strides in the 
past two years in booking family programs over 
the week-end. 

.\bout two years ago when the Better Films Com- 
mittee was formed in that town, the manager of 
the theater said very frankly "Monday and Tuesday 
nights are poor nights, and I have to put on extra 
good pictures to get any attendance at all — any popu- 
lar type of picture w-ill go pretty well on Wednesday 
anil Thursday — and on Friday and Saturday I put 
Oil the cheapest programs because no matter what I 
show, the theater is crowded on those two nights 
every week." In this special community it is 
not convenient for the mothers to have the children 
go to a special program on Saturday morning — 
on the other hand the children like to go on Satur- 
day afternoons. The problem facing that Better 
Films group was particularly difficult. They wanted 
the manager to spend more money on the days 
when the box office receipts were high regardless. 

They began working with him to put over as 
financial successes pictures which did not have 
a popular appeal, and which were "flops" in sev- 
eral communities. Through this work, which was 
necessarily slow, they demonstrated that they had 
some real influence in the community, and then thcv 
began work on the week-end programs. It is not 
necessary to relate the difficulties; — suffice it to sav 
that after two years of work they have succeeded 
in having booked for week-end showings ten famih 
pictures in twelve weeks, and they confidently expect 
that in another year they will have a family pro- 
gram each week-end. 

One of these two methods can be applied in every 
{CoHliiiiiCtI 0)1 ptuje 8) 

July. Sinitiin Tuenly-six 

Exceptional Photoplays 

Selected by the Commillee on Exceptional Photoplays 
Secretary_and Department Editor, ALFRED B. KU 1 TNER 


Diiecled by E. ./. Dupoiit 

Photographed hy (^arl I'tfiiiiil 

The Cast 

Boss Eniil Jannint/s 

Bertha Lya ile Putti 

Artinelli U'arwick Ward 

The ff'ife Maly Dehrhaft 

ONCE in a while a picture so unusual, so strictly 
a motion picture, comes along, that the criti- 
cal eye is opened wide, or it seems to be see- 
ing for the first time; the praise that has been be- 
stowed on films in the past seems then to have been 
overwrought and ill-considered, and to have been 
poured forth with an enthusiasm either unrestricted 
by knowledge or due to forgetfulness of what the 
motion picture can be at its best and is in its purest 
example. Much praiseful criticism of motion pic- 
tures has been of this kind, smacking of the bally- 
hoo that ever tends to launch itself with the phrase 
■'the greatest yet." We know that few motion pic- 
tures, upon second sober examination, yield such 
large unalloyed nuggets to our analysis as to justify 
any such cataloging, that but here and there along 
the long line reaching back Into the distance does a 
film appear that fullv reveals what the true nature of 
the medium is, with intimations of what its further 
development may produce. J'ariety, now showing 
on Broadway to audiences in America for the first 
time, is such a film, and one that makes it seem as if 
many well-intentioned words of praise vented upon 
lesser pictures have been too generously or inappro- 
priately besitowed, and not withheld from being given 
long enough, as seem pearls around the throats of 
women whose beauty is revealed as undeserving when 
the true queen of beauty appears. Thus do compari- 
sons become odious. 

Variety is a simple, tragic tale adorned by the most 
dexterous and magical camera that has yet captured 
with its eye for the retina of the screen the movement 
and meaning of its subject. This is not necessarily 
to say that it is more interesting or better than Cali- 
gari or Shattered or The Last Laiujh. But as a thing 
of moving pictures reacting on our sensitivity, as a 
mechanism or a medium or. If you please, as an art 
operating on our consciousness through the visual 
channel, making us see and therefore feel and know, 

and, within the limits ol It has to do, in Its speeil. 
Its energy, its concentration, Its ever roving angle ol 
shots like the eye itself roving, and its ability, 
through camera means alone, to create pure sensation 
In the spectator, this latest product to reach us from 
the German studios surpasses anything In film that 
has gone before it, at least as far as our knowledge 
goes. The theory of the Hoating camera, as referred 
to by report by Murnau, the director of The Last 
Laiic/h, is here, in Variety, most vividly illustrated, 
and motion pictures to come that do not in some way 
embody such technique, when contrasted in memory 
with this film, must always remain something less than 
motion pictures. One goes back, by the way, to 
Lcger's and Murphy's Ballet Mechanique, tlirough 
Variety's use for certain effects of the abstract 
method, but where Variety uses abstraction it Is to 
tune the nerves and so make us more sensible of the 
concrete meaning of acting, situation and story. 
Nevertheless, Variety Is proof positive that tremen- 
dous possibilities are opened up by the abstract 
method, and such as lie within tlie true scope of mo- 
tion camera art. 

For both the Ballet Mecluniiqiie and Variety gain 
their foremost position and distinction as products of 
motion picture art. Nowhere as in these two films 
Is it so clearly revealed that the art of the motion 
picture and that of the motion camera are one and 
tliC same thing, and that that thing is complete in it- 
self, and to this extent the film constitutes a formula 
out of which Is possible a definition. Here the camera 
tells all, both Implies and is explicit, strikes at the 
Imagination and spurs it on and sets the text for what 
must 'be exactly and Immediately understood. In the 
circus the acrobats swing to the trapezes straight up 
from the eye along the rope whose length stretches 
vertically to a slender quivering apex based at the 
camera. The sensations of height, a long climb up- 
ward, danger, are at once established. The trapeze 
artists begin swinging high over the audience; what 
their sensation Is Is told by wiiat they see as the cam- 
era swings with them and records the swaying blur 
of faces In the audience gazing up from far beneath 
In the abyss of the theatre. We understand at once 
tl'eir dizzying peril and their art of agility and pre- 
cision which allows them to conquer It. As they poise 
anil swing and Hy through the air from one trapeze to 
another and are caught ami drawn to safety, we fol- 
low their mo\-ement because the camera like our gaze 

National HuARr) of Ri;vii;w Maoazike 

favels with It. I5ut the camera sees more than the 
e\c ami that more completely. We ilrop to the audi- 
ence, circle around, and perceive its \arious expres- 
sions of woniicr, interest, tear, ot the breath held 
against the halt'-e\pected fall, and soar aj^ain amid 
the lofty paraphernalia of the acrohats, the Hicker- 
iiifi wires and the marvelous rhythmic swinging trap- 
ezes. 'I'he situation ami the psychology ol the actors 
ami the audience are absolutely embraced and trans- 
ferred to us. We are both the acrobats and the audi- 
ence, swinging by turns from the sensations ol the 
former to the sensations of the latter. We swing, 
Hy. alight, swoop liown upon the wings ot pictures. 
\Vhen ofie considers that the situation In this incidetit 
is one of uncertainty and suspense, that the central 
character may reveal himself as such or such a man, 
that the plot may swing this way or tliat, since the 
decision of the head performer is to determine wheth- 
er he shall allow liis fellow acrobat, who has betrayed 
I'im with the trapeze girl he himself loxes, to plunge 
to his death at the conclusion of a particularly spec- 
tacular and perilous swing, or reserve him lor some 
other fate, the tremendous gain achieved through 
such photograplilc technical exposition becomes ap- 

One could go on giving instance alter instance ol 
this kind of thing in the picture. The whole film is 
marked, through this sustained camera technique, 
with a magical quality affording a succession of exact 
afid pregnant images, telling what must be told and 
nothing more through selection, enriching, and mass- 
ing of necessary details analyzed, recortled, antl kept 
in Hux. 

Hut while the cineographic quality ot I'ar'tely is thus 
outstanding, the camera plays upon a brand of acting 
for which the I'.uropean screen has become justly 
noteii. I'^mil fannings as the Boss, who has been 
lured back to the "big time,' and away from his 
wife and chiKi, h\' the young dancing girl wliom he 
has trained on tlie aerial swings and who rewanis his 
Io\-e for her with infidelity with one .\rtinelli, the 
third membei' of the troop, a much younger and"more 
tiaslving man, is authentic and, except for a slight 
tendency toward o\-eremphasis, fills the part. It is 
but another of Mr. Jannings' successes in gi\'ing char- 
pcterization on the screen. I.ya de Putti as the 
beautiful, wily, ami utterly unscrupulous girl shares 
Mr. Jannintrs' honors. Hers is a new face which 
will pro\e fully as attractive to .American audiences 
as that of many of our charming ladies of the 
films, anil hers is a temperament more intense in ter- 
nreting the kind of role she has to play in J'ar'wty 
than any that has come under our observation. Miss 
de Putti. however, is an artist. Pier touch is sure 
pnd liirht and her work is never coarsened beyond the 
demantls of reality and character meaning. Fully 
abreast of Miss de Putti's and Mr. Jannings' is the 

pei-|ormance of Warwick Waril, an Pinglish actor, as 
.\rtinelli. The suavity of this performance in con- 
nection with the character which must be expresseii 
is far above what is usually to be seen in motion pic- 
tures. Not a touch is missed to add to the pigment 
of this portrait of a famous and conceited acrobat, 
used to the plaudits of the crowd and marred in his 
personal life by a strain of decadence and cowardice, 
livery performance tiown to the smallest role and to 
the most minute detail which Is neeiled in the picture 
Is tinisheil ami tllstinguished tor its entire truth ami 

raricly is a picture that should not be missed by 
anyone who wishes to see what motion picture art is 
and who is interested in its highest present attainment. 

{Screen slory by E. J. D/ipoul, Produced by I . 
/•'. ./. (Did d'islr'ibiiled by Piiniwoinil .) 

Nell Gwyn 

Directed by Herbert If'ilcox 

Plintoflriiphed by Ruy Overbiiui/li 

The Cast 

Nell Gwyn Dorothy Gish 

Airs. Gwyn Sidney Fairbruther 

King Charles II Randle Ayrtnn 

Liidy Cnstlenuiine Juliette Cotnpton 

Toby Clinker J mid Green 

Dickon Edward Sorley 

WHEN an irresistible woman meets an unre- 
movable world ruler, the result frequently 
is a more than usually iridescent chapter in 
the record of mankind. The necking parties of such 
Lotharios by divine right as Solomon with his Sheba, 
Anthony and Cleopatra, Louis the P'ourtecnth and 
his boudoir belles, have tilled many pages in what 
would now be calletl the tabloiil sheets of history. 

The minor skirmishes between lo\e and the royal 
purple have come in tor their share of attention too, 
;!s the Chronique Scamialeuse of European courts 
will show. The gaiety of monarchs has trequently 
ailded to the gaiety of nations. 

Nell Gwyn's romance with Charles the Second is a 
case in point. If her story stands out above the 
others, it Is probabK- ilue to her humor and her per- 
sonality, coupletl with the fact that her lo\e for the 
king seems to have been real, and tree from any mer- 
cenary taint. Then too, her memory has been kept 
warm in all England through the Chelsea Hospital in 
London and the chimes of St. Martin's Church with 
w hich her name will always be associated. 

Nell (jwyn's picturesque life as an orange vendor, 
her audacious manner of captivating Charles at their 
lirst meeting, and her career on the stage, certainly 
provide ready screen material. The \ersion used in 
tills picture makes much of the orange scene, dwxils 
at length upon Nell's ousting of Lady Castlemalne 

July. Kiiifti'iii Twiiity-six 

from the King's favor, and wisely emis with Charles' 
tieath-heil scene where she successfully charms a smile 
out of the dyint; monarch by Jier drollery. 1 ler latei" 
unhappy life of poverty and the shabby treatment ac- 
corded lier by the sanctimonious James are thus not 
touched upon. Here, as in many other places in the 
picture, any attempt at realism has wisely been 
avoided. In fact, one is tempted to say that ii th.; 
producer utul director set out to turn Nell into a "nice 
Nellie," with an eye to preserving the proper Anglo- 
Saxon decorum, they have admirably succeeded. 

Dorothy (iish is the outstanding member of the 
cast. She does the part with great dash and gives free 
play to her well known roguishness. If at time the 
note of the moilcrn Happer obtrudes in her work, such 
an interpretation is in line witli the circumspect man- 
ner in which the whole picture was conceived. Quite 
recentlv. G. K. Chesterton was tilting at the movies 
in his usual paradoxical manner by saying that rhey 
gave to millions of people the illusion of ha\'lng seen 
something which in reality they had not seen at all 
Perhaps he had just seen Sell Gziyn. If he had, he no 
doubt would have approved like the true romanticist 
that he Is. Ihe public will approve no less. For time 
and distance tend to turn all realism into romance. 

{Story by Marjorie Boiven. Scenario hy Herbert 
Jf'ilcox. Produced by British Xational and distributed 
b\ Paramount.) 

The Marriage Clause 

Directed hy Lois Pf'eber 

Ph'ilot/r/if>lied hy //<■;/ M uJir 

The Cast 

Barry Tuwnsend Francis X Bushman 

Sylvia Jordan Bit lie Dove 

Max Rai<enal If'arner Gland 

.Mildred LeBlanc Grace Darniond 

Dr. Dickson Henri LaGarde 

Pansy Caroline Snoivden 

Sam Oscar Smith 

Critic Andre Cheron 

Secretary Robert Dudley 

Stage Manager Charles Meakiii 

THOSE queer folk who not only act but live their 
lives behind the footlights forever tantalize 
our curiosity yet ever elude our complete un- 
derstanding. Despite the constant flood of publicity 
which tries to tell us that actors and actresses are 
"just people", at bottom very much like ourselves, 
we remain unconvinced. The public feels that these 
flickering, emotionally o\ercharged personalities are 
somehow a race apart. It worships them like superior 
Tieings, indulges them like children, and always It 
wants to know all about them. 

That perhaps goes far towards explaining the 
perennial interest in any story that deals wltli the 

acting profession. It has always been a favorite on 

the stage and ol laic has appeared on the screen as 

The Marriat/c Clause is an unusually interesting 
variation ol this type ot story told with genuine In- 
sight into the psychology of actors and the peculiar 
conditions under \\hlch they often live. The plot 
deals with a situation such as might plausibly arise In 
the theatrical profession ami the ensuing dramatic 
conflict is heightened by the excellent characteri/ation 
that has gone Into the two principal parts. Plot and 
characteri/ation thus mutually strengthen each other 
and combine to gi\-e us a picture of unusual dramatic 

Barry 1 ownsenil, a master stage director, discovers 
the latent talent of Sylvia Jordan, an aspirant to 
stardom under the management of Max Ravenal, a 
powerful figure In the theatrical world. He inten- 
sifies and de\'elops her powers, gives her confidence 
and poise, and succeeds In making her a sensational 
success. His power over her is almost hypnotic and 
she responds to his direction almost like a child obey- 
ing its parent. He in turn, from admiring her as an 
artist, falls deeply in love with her. Ravenal, too, is 
similarly fascinated and sensing the danger of Barry 
Townsend's rivalry inserts a clause into Sylvia's con- 
tract forbidding her to marry while under his man- 
agement. Townsend and Sylvia are Informally en- 
gaged and she is opposed to signing the contract but 
he rather quixotically urges her to do so — and thus 
put off their marriage — In the interest of her career. 

Now a subtle change In their relations takes place. 
As Sylvia rises in her profession, with her name ap- 
pearing in ever larger type on the billboards, Town- 
send slips downward, inactive through his absorption 
in her, and apparently less and less necessary to her 
success. This process is insidiously encouraged by 
Ravenal who gradually conveys to Townsend that 
he too does not need him anymore. At the same 
time Townsend, through a series of misunderstand- 
ings and the machinations of Ravenal's former favor- 
ite, comes to feel that Sylvia Is interested in Ravenal. 

A period of complete estrangement follows with 
Townsend wondering how Sylvia is getting along 
without him while she realizes her dependence upon 
him and rapidly approaches a nervous breakdown 
which comes to a climax on the night of her new open- 
ing. A series of tense situations bring out the drama 
of this tragedy of cross purposes in the lives of two 
people who were really meant for each other. Final- 
ly there arises a situation where only Townsend, 
through his power over her, can save Sylvia from 
going down the dark path from which all medical aitl 
has failed to turn her. 

Here obviously is an unusual story of stage life 
told without the conventional trimmings which we 
ha\e been led to expect from riiost pieces ot fiction 


NaTIOVAI, UoARf) OF Rkview Maoazint 

;ul\ crtiscii as ilcalln^ witli lilc luliiiul the lootlij^lits. 
As a picture it wiuiKI lie rem.irkahle il oiiK' lui" the 
liiial sc()iiciicc where 1 ownseiui charms SyUia hack 
to hfc hy excrcisiiij^ the same magnetism over 
her wliich lielpeJ hirn to release her dramatic 
genius on tlie stafi;e. liut the story in its entirety 
Hows lojfically out ol the relations ol these two chil- 
ilren ot the stage atul out ot the curious way — ever 
nusterious to the general puhlic — m which that life 
moulds those who ha\e their being in its magic circle. 
1 1 the screen version has recourse to some artificial- 
ities that were absent in the story we must remember 
that the screen cannot always reproduce the subtleties 
ol litei^ature and that only the greatest picture cre- 
ators succeed in in\enting corrcspontling cineographic 
subtleties to take their place. 

Not that the directorial values ot the picture are 
to be underestimateil. Tlw Marruuje Cliiiisc is in 
iiKiny wavs one ot the finest achievements of Lois 
Weber. I ler handling ot SyK-ia's hysterical attack 
arui ot the slck-betl scene are especially gooti and her 
rather ambitious handling ot the stage scenes comes 
oti \ery well. An excellent cast helps admirably, 
i'rancis X. Bushman shows the same sincerity and 
unmannered acting ability which made his comeback 
in Ben Hur so successful. Billie Dove astonishes 
both by her beautv anil distinction and her under- 
standing of her part, and Warner Oland, now hap- 
pily restored to us as a straight actor from his exile 
as a specialist in oriental villany, again reveals the 
value of jutlicious underemphasis and the power of 
suggestion when working before the camera. 

(From the story "Technu" by Dcnta Riirnel in the 
Siiliirday Eveninij Post. Scenario by Lois Jt'eber. J 
J euel proline lion. Distributed by Universal.) 

Rutherford Committee 

THE Rutherford. N. J., Better Films Committee 
helil its second annual meeting in June when re- 
ports of the past year were heard anil officers 
lor the ensuing year were nameci. 

Iwenty-two organizations are represented on the 
Better Films Committee, and several individuals are 
also numbered among the members. Of especial in- 
terest is the cooperation of the public library with 
the Better Films Committee. 

Officers for the next year iiicluile Mrs. 1 larrv O. 
Cirover, president; Mrs. ]•'.. F. Miner, vice-president: 
.^Irs. Scott Staples, recording secretary; Mrs. A. F. 
Hurst, treasurer; and Mrs. i'aul Chandron, corre- 
sponiling secretary. 

In the fall, when the meetings of the Committee 
are resumed, especial emphasis will be placed on the 
work ol this group in securing the cooperation of the 
exhibitor in booking family pictures for the week- 

Our Chairman I lonored 

Rl A'. William Hraman 1 Dwer, Chairman of the 
National Boaril of Re\iew of .Motion Pic- 
tures, received the honorary ilegree of Doctor 
ol l)i\inity from Weslcyan University, his .\lma 
.Mater, at its recent Commencement exercises. Dur- 
ing the several years Dr. Tower has served as Chair- 
man of the National Boarii of Review, the work has 
developed in a most gratifying way. Ihe number 
ot trained, volunteer, public spirited citizens serving 
on Review Committees has been increased to over 
250. ihe Better Films National Council (formerly 
the National Committee for Better Films) has broad- 
ened the scope of its endeavors, not only working 
through its associate and cooperating members and 
;irtiliated Better Films Committees, but also cooper- 
ating with other national organizations. Dr. Tower 
field important pastorates in New ^'ork City from 
1898 to 1917. Since 1918 he has been connected 
with the Board of Foreign Missions of the Methodist 
Episcopal Church, as Secretary of its Survey Com- 
mission, Assistant Secretary of the Board and is now 
the Board's Recording Secretary, in charge of the 
Department Records, Research and Sur\-eys. 

Building Junior Programs 

{Continued from juiije 4) 

community. I'.xperience of several communities in 
arranging the special prt)grams for juniors indicates 
that the selected programs should include first a 
prologue by local talent; a feature motion picture, 
a short comedy, a short educational picture, and such 
parts of the current news reel as will prove suitable. 

In one community where two theaters are under 
the same management, if the comedy showing in 
cither theater is suitable, that is added to the Junior 
program thereby saving the expense of an extra 
comedy. I he news reel in one of the theaters is 
always incluiled as well as the Pathe re\iew which 
shows weekly in one ot these theaters ami then an 
educational picture. There are numbers of these 
hitter pictures which may be secured through the Mo- 
tion Picture Bureau of the Young Men's Christian 
.Association, and other groups, which cost only ft)r 
transportation and which are fascinating to the chil- 
dren as well as ha\ing educational value. 

From month to month, the National Board of Re- 
view will publish lists of feature pictures and com- 
edies, which are not only suitable for young people, 
hut which ha\e become available for the Junior mati- 
nees, as an aid to the Better Film Committees in their 
s[)ecial programs. 

July, Nintliiii 'I\ii>ity-six 

Guide To The Selected Pictures 

Selected bv the Review Committees 

Key to Audience Suitability 

General audience (composed principal- 
ly of adults). Pictures primarily inter- 
esting to adults — but pictures not ordinar- 
ily recommended for boys and girls may 
be included in the list if the presentation 
is not objectionable for them. 

Family audience, including young peo- 
ple. Pictures acceptable to adults and 
also interesting to and wholesome for boys 
and girls of High School age. 

Family audience, including children. 
Pictures acceptable to adults and also in- 
teresting to and wholesome for boys and 
girls of grammar school age. 

Mature audience. Pictures recom- 
mended for the consideration and enjoy- 
ment of adults. 

Note: — Programs for Junior Matinees 
should be selected from pictures in the 
family audience classifications. 

* — Pictures especially interesting or well 
done but not necessarily "exceptional." 

*Bigger Than Barnums 

Diriitdl by Ralph hut- 

} George OH urn 
fioln Dana 
Ralph hue 
Ralph Leicis 

Original screen story by Arthur Guy 

A STIRRING and at the same time hu- 
'^ morous melodrama of circus life in- 
volving a team of tight rope walkers. The 
mercenary manager wants them to do their 
act without any safety nets. The hero 
refuses for fear of endangering the girl. 
His father repudiates him as a coward and 
he leaves the circus, the father then goes 
on the rope with the girl and falls, being 
almost killed. Later when he is caught in 
a burning hotel, the son has a chance to 
prove his courage by a daring rescue just 
before the burning walls collapse. He is 
then re-instated in the circus and marries 
his girl partner. 

I'or the family audience including chil- 

(F. 15. O.— 6 reels) 

The Brown Derby 

Directed by Charles Hines 

Featuring Johnny Hines 

Play by Francis S. Merlin and Brian 

JOHNNY' Hines in the part of Tomnn 
Burns, the plumber, uses many origi- 
nal gags and new bits of "business" in mak- 
ing an often genuinely amusing farce. I he 
sudden aquisition of a brown derby which 
is supposed to bring luck and confidence 

fires him with the ambition to become 
something more than just a rich plumber. 
He impersonates the Australian uncle of 
a rich heiress, overcomes the competition 
of two other uncles, and finds that noth- 
ing succeeds like success, once the brown 
derby has taught him to overcome his in- 
feriority complex. There is only one false 
note: whoever heard of a plumber having 
an inferiority complex? 

I'Or the family audience including young 

(I*'irst National — 7 reels) 

Footloose Widows 

Directed by Roy Del Ruth 

,. ILouise Fazenda 

r eaturinii ; , ,. , 

(Jacgueline Logan 

S'ovel "Footloose" by Beatrice Burton 

A N amusing light comedy of two dress 
■'»■ models who go a'hunting for a hus- 
band in the splendiferous real estate of 
Florida on nothing but their nerve and a 
i-[e\v wardrobe which they have "borrowed" 
from their employer who rather fancies 
himself as a lady's man. With no funds to 
pay for their hotel bill they realize that 
they have to work fast and concentrate 
upon a young millionaire Inventor of a soft 
drink. Unluckily they make a mistake of 
identity and choose an adventurer who is 
as broke as they are but is fooled by their 
pretense at being wealthy. Their employer 
arrives on the scene, eager to recover his 
expensive wardrobe, but the real million- 
aire takes a hand and foots the bills, thus 
giving the best promise of being all that a 
husband should be. 

For the general audience. 

(Warner Brothers — 7 reels) 

The Ice Flood 

Directed by George B. Seitz 

r- , \Kenneth Harlan 

leaturinq ; ... , „ 

I / tola Dana 

Original screen story by Johnston 

A N interesting story of lumbering. A 
•''• young man just out of Oxford, is 
sent by his father out to the various lum- 
ber camps to restore order among the men. 
(joing incognito the young man brings or- 
der to the camps, and at one camp he 
cleans up the bully, brings health to a 
crippled child ;nid falls in love with the 
superintendent's daughter. In the end the 
father arrives and reveals his son's iden- 
tity. The scenes of the lumber camps, and 
of the ice Hood are lovely, and redeem a 
somewhat trite plot. 

For the general audience. 

(Universal — 6 reels) 



Directed by Leo Mechan 

}John liouers 
Bess Flowers 
Gene Strattot, 
John Fox Jr. 
Novel by Gene Stratton-Porter 

N atmospheric idyll of American coun- 
try life agreeably diiierent from the 
tailor made movie to which we have he- 
come accustomed. The story concerns two 
neighboring country families which arc 
brought together by a boy and a girl whose 
>'outhful love breaks down the barriers of 
family pride and caste. The story unfolds 
at a leisurely pace, often pausing to have 
childhood enjoy its happy moments. Aside 
from the capably filled juvenile parts of 
Laddie and of Pamela Pryor, the youth- 
ful Gene Stratton as Little Sister, and 
John Fox, Jr., as the mischievous Leon, 
play their roles with such charm and hu- 
mor that the picture will perhaps mainly 
be remembered for their presence after its 
sometimes too goody-goody flavor has been 
forgotten by the spectator. 

I'nr the family audience including chil- 

(F.B.O.— 7 reels) 

The Lady of the Harem 

Directed by Rnoul llnlsh 

(Ernest Torrence 

r. , . j Greta Nissen 

Jeatunng -^ 

II illtani (^ outer, Jr 

\_ Louise Fazenda 

Play "Hassan" by James Elroy Flecker 

A N Oriental romance with an Arabian 
■^^ .Nights flavor. Hassan, the confec- 
tioner, helps Rafi, the distracted lover to 
find the maid, Pcrvaneh. who has been 
carried off to the Sultan's harem. Rafi 
organizes a secret band of terrorists who 
make the Sultan very uncomfortable, but 
he counters in a typical Oriental manner 
by disguising himself and ferreting out 
the terrorists until he gets Rafi into his 
power. Hassan now stops making Tur- 
kish delight in his candy kitchen and makes 
a revolution instead. He is just in time to 
save the lovers, give the Sultan his des- 
serts, and take his own by enthroning him- 
self as the candy kid of Khorasan with 
the fair Sultanas to cheer his old age. 
F"or the general audience. 

(Paramount — 6 reels). 

Lovey Mary 

Directed by King Baggot 

Featuring Bessie Love 

Novel by Alice Hogan Rice 

A N appealing story of a "little mother " 

•'*■ with a big mothering instinct. Lovey 


N'ationai. Hoard of Review Macazine 

Marv is a little orphan who runs away 
with her wayward sister's haby boy in an 
instinctive attempt to shield him trom 
harm. She is taken in by some poor but 
kindhcarted people ot the "(."abbaj;e Patch" 
with whom she lives contentedly until a 
derelict from her home town arrives bent 
on marryin;; a comical old maid of whom he 
has heard throujih a matrimonial agency. 
He threatens to expose Lovey Mary. The 
police and the orphanage authorities finally 
come and take the child away. But cir- 
cumstances restore the child to her and she 
finds happiness with the son of the kind- 
hearted woman who took her in and shel- 
tered her. 

For the family audience includinj: youn;; 

( Metro-(Joldwyn-Mayer — 7 reels) 


Diriclttl by Allan Dunn 

,. {Lois Murtin 

i laluring < » t , n 

-^ ll^oah a eery 

\ovel by Rex Beach 

A HUMAN' drama of the morals of the 
■^^ past KCKTation contendin<i with 
those of the present. Edith Gilbert, a 
young and hifjh spirited girl, after 
the tragic death of her mother, breaks 
away from the narrow, bigoted prejudices 
of her father, who is a reformer, seeking 
romance and adventure on the "great 
white way. " Kdith's father has remarried 
and when he learns of his daughter danc- 
ing in a cabaret, he and his wife go to the 
city and through his influences, the girl is 
placed in a reformatory. Later he real- 
izes the kind of woman he has married and 
the wrong he has done his daughter. In 
the end Edith returns to her father's home 
and finds happiness in the love of a young 

The story well portrays the struggle be- 
tween the older generation and the mod- 
erns. Lois Moran is supported by an ex- 
cellent cast. 

I'or the general audience. 

(Paramount — 7 reels) 


Directed by (iinn/e A rcliiiihiiii<t 

,. . ■ {Milton Sills 

realurina ,„ , .,, , 

lOerlruae Ohnstead 

Play by I'rancis Lii/htner 

A PUPPET show man in "Little Italy," 
falls in love and marries, just before 
he is drafted for the World War. He 
leaves his yining bride in the care of a 
cousin of his who wants the girl for him- 
self. Through a forged letter he writes 
of the husband's death, and tries to per- 
suade the girl to marry him. The show- 
man returns in time, however, and the 
cousin is forgiven for his share in the mat- 
ter because of his defense of the girl when 
she is annoyed by the showman's assistant. 
The picture is well acted and the story 
holds the interest. 

For the general audience. 

(First National — 8 reels) 

The Savage 

Directed by Fred S euiiieyer 

/. , \Ben Lynn, 

leiitiirint/ ', :, . 

I May AlcAx'oy 

Xnvel by Ernest Pascal 

TI^:\RC¥. comedy of a hoax planned tu 
'■ make a professor, who believes that 
man descended from white savages, a 
laughing stock of the world. A young 
newspaper man is sent out to the jungle to 
be captured by the professor as proof of 
his theory. After many funny adventures, 
the "savage " is caught and brought home 
where he is placed in a large cage. The 
professor's lovely daughter is the only one 
who can do anything with him. Finally he 
breaks loose and ridding himself of his dis- 
guise, he and the girl find love. 

l-"or the family audience including young 

(First National — 7 reels) 

The Silent Flyer 

(Serial in 10 Episodes) 

Directed by // illiam J . Craft 

,. , {Malcolm McGreaor 

leatunnff {„., „ , , ,^ , , 

louver itreak (the dog) 

Original screen story by George Morgan 

A .MKLODRA.MA of the North. An 
old man has invented a noiseless mo- 
tor for an aeroplane, which when finished 
he is going to present to the government in 
memory of his son lost in the World War. 
A (Government Secret Service agent is 
helping the inventor, posing simply as a 
young mechanic. There are enemies who 
are trying to possess the plans of the mo- 
tor to sell to an aeroplane concern. The 
inventor and the young man are aided in 
their work to protect the plans by a wolf 
dog whom the young man had rescued 
from a trap and which the dog has never 
forgotten, as he has also never forgotten 
the man who had tried to kill him when 
he was in the trap, and who is the one 
now trying to steal the plans. The young 
man. of course, falls in love with the in- 
ventor's daughter, and in the end he wins 
the girl, the villains are punished, the plans 
are given to the government and thus the 
old inventor's life work has been accom- 

The snow scenes in the first part of the 
picture are very good and the interest is 
well sustained throughout. 

I''or the family audience including young 

(Universal — 20 reels in 10 episodes) 


T^HE Cincinnati Better Motion Picture 
Council has rounded out another suc- 
cessful year, interesting reports being given 
at the annual meeting held this spring. 

Officers for the ensuing year include 
Mrs. John Malick, president; Mrs. R. C. 
Ileflebower, first vice-president; Annie 
Laws, second vice-president; Mrs. Leona 
C. Frey, third vice-president; Irene Sulli- 
van, recording secretary; Hattie Ochs. cor- 
responding secretary: C B. Avey, treas- 
urer; William Shroder. auditor. 


Amidst the Million 
(Sportlight Series) 

A series of views of city gymnasiums 
and recreation grounds. 

For the family audience including chil- 

(Pathe— 1 reel) 

In Sunny Spain 

\ iews of Spain. 

lor the family audience including chil- 

(Fox — 1 reel) 

*Pathe Review No. 25 

Felt Posters as conceived by V'yvian 
Donne r; University of Washington 
(color) : Activities of the Associated Press. 

For the family audience including young 

(Pathe— 1 reel) 

*Pathe Review No. 26 

Asbestos Mining at Thetford, Canada; 
Capital at Cuba; Intimate views of the 
Bull .Moose and his family. 

For the family audience including young 

(Pathe— I reel) 

*Pathe Review No. 27 

Fhe Juvenile CJym. imparting suppleness 
and strength to young America; Oil Drops 
(Tolhurst microscopic) ; Constantinople, 
the seat of the Sultans. 

For the family audience including chil- 

(Pathe— 1 reel) 

*Pathe Review No. 28 

A Leaf from Life, a nurse writes home; 
A Hamlet in Hungary, a peasant village 
of Croatia: American Excavations at An- 
cient Carthage. 

For the fimiily audience including chil- 

(Pathe— 1 reel) 

*Pathe Review No. 29 

Little Ships, how a master workman 
makes them; First I'lights. some incidents 
in the b'fe of the stork; Old Heidelberg, a 
medieval town of modern Germany. 

For the family audience including chil- 

(Pathe— 1 reel) 

*Pathe Review No. 30 

Limestone of Lorraine. I'rance; Stars 
of the Sea (Tolhurst microscopic) : Uni- 
versitv of California (color). 

For the family audience including chil- 

(Pathe— 1 reel) 

Peeking at the Planets 
(Lvman H. Howe Hodge-Podge series) 
Scenic with some charming views of 
Sw edcn. 

July, Sine teen Twenty-six 


For the family audifiur iiKludinj; cliil 

(Kducational — 1 reel) 

Better Films Committees 

Poland, a Nation Reborn 

Travelogue of Poland giving the prin- 
cipal cities and some charming country 

For the family audience including chil- 

(Fox — 1 reel) 


The Cat's Whiskers 
(Bray Cartoon) 

Grandpa tells the little girl how the 
cat got his whiskers. 

For the family audience including chil- 

(F. B. O.— I reel) 

Dinky Doodle and the Little Orphan 

Dinky doesn't know what to do with a 
bahe in arms wished upon him. 

For the family audience including chil- 

(F. B. O.— 1 reel) 

Dinky Doodle's Bed Time Story 

Dinky Doodle and his gang take a trip 
through Fairyland. Cartoon. 

Por the family audience including chil- 

(F. B. O.— 1 reel) 

Excess Baggage 

Featuring Our Gang 

The "gang" comes to see one of their 
members off on a train. They get aboard 
and have a grand rough house. 

For the family audience including chil- 

(Educational — 2 reels) ' 

Felix the Cat in School Daze 

Felix essays the role of Mary's Little 
Lamb and upsets the entire school. 

For the family audience including chil- 

(Educational — I reel) 

Felix the Cat Rings the Ringer 

Felix goes to the circus to steal some 
food and proves to be so acrobatic that he 
gets a permanent job. 

For the family audience including chil- 

(Educational — 1 reel) 

Here Comes Charlie 

Featuring Lloyd Hamilton 

A comic floor-walker managing some 

bargain sales is unusually funny. 

For the family audience including young 


(Educational — 2 reels) 

/^()NC;R.-\TI"LAT()R\- editorial com- 
^-^ ment which appeared in the Ruther- 
ford (New Jersey) Republican and 
American on the work of the Better Films 
Committee is being reproduced here be- 
cause it is a merited compliment and is 
typical of the attitude of the press toward 
the Better Films .Movement as carried on 
by the affiliated groups of the Better I'ilms 
.National Council of the National Board 
of Review : — 

"The activities of the small group of 
socially minded men and women calling 
themselves the Rutherford Better Films 
Committee have been brought to the at- 
tention of our readers through the news 
columns of The Republican. We have 
followed the weekly 'Photoplay Guide' and 
the 'Do You Know' items with increasing 
interest. The amazing development of the 
commercial motion picture with its tre- 
mendous potentialities for good or evil con- 
stitutes a problem which no thoughtful 
person can afford to ignore. The motion 
picture reaches more people, of all ages, 
than any other form of popular entertain- 
ment; it is moulding the thought of mil- 
lions of young people and children through 
the effective method of visual instruction. 
It is of paramount importance that this 
entertainment shall be wholesome and this 
instruction safe and sound. The vast 
majority of those who patronize the 
'movies' prefer clean, wholesome produc- 
tions, both for themselves and for their 
children. Only a very small minority, 
however, are sufficiently interested to make 
a study of the subject, or public-spirited 
enough to sacrifice time and effort to dis- 
cover and apply a plan whereby the popu- 
lar taste may be guided or educated, the 
popular demand for good pictures regis- 
tered with the producers and the latter 
encouraged to do their utmost for the de- 
velopment of the artistic, cultural and edu- 
cational possibilities of the motion picture. 
"The Rutherford Better Films Com- 
mittee, affiliated with the Better Films 
National Council, with the cordial co- 
operation of the manager of the Rivoli 
Theatre, is vigorously and effectively en- 
gaged in solving the motion picture prob- 
lem for our community. The program, 
which has been fully described in the col- 
umns of The Republican, is sane, intelli- 
gent and workable; free from the defects 
inevitable in any form of legal censorship 
and commending itself by its own inherent 
good sense and by the practical results al- 
ready attained wherever it has had a fair 
trial. With its slogan, 'Selection, Not 

Censorship, the Solution,' it presents an 
effective method of dealing with one of 
the most pressing and difficult questions of 
the day. In view of the vital importance 
of the service they are endeavoring to ren- 
der and the capable manner in which they 
are accomplishing their task the members 
of the committee arc justified in claiming 
the interest and support of all intelligent 
persons in the borough. 'Fhe report of 
the annual meeting of the committee in- 
dicates the character of the work being 
carried on and merits thoughtful reading. 
We bespeak for the activities of the Ruth- 
erford Better Films Committee the co- 
operation of all good citizens." 


Snookum's Outing 


Very funny and clever picture of baby 

For the family audience including chil- 

(Universal — 2 reels) 

T^HE importance of the moving picture, 
as a social, intellectual and scientific 
agency was the theme of a talk by Mrs. 
Gordon Finger, at the meeting of the 
Charlotte Better Films Committee re- 
cently at the Chamber of Commerce. 
.Mrs. Finger, who was in charge of the 
program, spoke of the effective program 
which the committee might put on in the 
eft'ort to realize the purpose for which it 
was organized, and called on various mem- 
bers to discuss different phases of such a 

Mrs. John A. McRae, chairman of the 
Charlotte Parent-Teacher Council, sug- 
gested methods of cooperation with par- 
ents and children. Warren Irvin, of the 
Imperial Theater, told of plans which 
might help to popularize high-class plays 
\\ith adult theater-goers. Anne Pierce, 
head of the Charlotte Public Library staff, 
explained the relation between good books 
and the plays based on them. Dr. E. H. 
Garinger, principal of Central High 
School, discussed the value of educational 
films in school work. 

Mrs. J. A. Parham, chairman of the 
committee, conducted two business sessions 
during which reports were heard from the 
follouing committees; matinees. Airs. H. 
L. ilcClaren; review, Mrs. \'. J. Guth- 
ery; treasurer. Dr. J. A. Gaines; prologue. 
-Mrs. J. A. Gardner, and membership, 
-Mrs. John A. McRae. New members re- 
ceived by the organization were Mrs. E. 
I.. Mason and Mrs. f. A. Gardner. 

T'HE Atlanta Better Films Committee 
held its annual meeting in July when 
they elected officers to serve during the 
coming year. Mrs. R. F. McCormack was 
reelected as president and Mrs. Newton 
C. Wing, first vice president; Mrs. E. A. 
Jameson, second vice president; .Mrs. Ira 
I'armcr, secretary-editor; Mrs. George 
Price, treasurer, and Marion McClellan, 
corresponding secretary. Mrs. Alonzo 
Richardson and Mrs. Ira Farmer made 
talks on the "highlights" of the convention 
of the General Federation of Women's 
Clubs recentiv held in .'\tlantic City. 



Selected by the Compiled by its 

From pictures submitted for for those interested in the 
review in 1925 Better Pictures 


TN the eleventh annual Catalog of SELECTED 
PICTURES there are listed 572 pictures selected as 
interesting, entertaining, and wholesome, and among the 
"Better Pictures" submitted to the National Board of 
Review for consideration. 

The National Board of Review and its Better Pllms 
National Council emphasize the classification accord- 
ing to their type-of-audience (age and group) suitability 
of all the selected pictures. 


The pictures are selected and classified for 

The Family Program 

Junior Matinees 
The General Audience 
The Mature Audience 

The price of the catalog is Twenty-jive cents 

Orders for catalogs may be forwarded to 

The National Board of Review of Motion Pictures 

70 Fifth Avenue, New York, N.Y. 




Vol. I, No. 4 

August, 1926 


Music and Motion Pictures 
Made One by Vitaplione 

Exceptional Photoplays 

Don Juan 
The Show-Off 

The Director's 



Published montkly Ly the 


20 cents a copy 

Established by The People's Institute in 1909 
70 Fifth Avenue, New York, N. Y. 

S2.00 a year 

Contents for August, 1926 

Special Articles 

Editorial, The Director's Alibi Music ami the Movies Made One bv Vitaphone 

.llfrr/l B. Kut/nt'r 3 ff. H. Jenkins 4-5 

Exceptional Photoplays 

Don Juan 6-7 Tlip Show-Off . . , 

Selected Pictures Guide 



The Bells 

The Demon Rider 


The Duchess of Buffalo . . . . 

Fi^ Leaves 

Flame of the Ar<;entine . . . , 

Tlie Great Deception 

Her Man O" War 

A Hero of the Bit; Snows . 
The Lodge in the Wilderness 

9 The Lone Wolj Returns . 10 

9 Lost at Sea .. . 10 

9 Men of Steel 10 

9 No Man;s_ Gol(L- 10 

9 -?ais Firsf; 10 

9 'b'enor Dare" Devil 10 

9 jrh£_Son_fll_th£^.Slieik^ 10 

9 The Waltz Dream 10 

9 '^'ou Never Know Women 10 


Non-Feature Subjects 

Ball and Bat 11 

Bi[; and Little 11 

Bull's Eye 11 

Down to Damascus II 

The Lumber Jacks 11 

Pathe Reviews Nos. 31-35. 11 

Putting on Dog 11 

Songs of Italv 11 

Th-- Spirit of Plav 11 

Short Comedies 

Alice Cartoons 11 

All Star Freaks 11 

East is Best 11 

Tlie Fiizht That Failed 11 

riu' J,.u!y of Lyons 11 

Tlic Mule's Disposition 11 

C'lfiyrif/ht 1926, The \fitionnl Board of Review of Motion Pictures 

National Board of Review Magazine 

Associate Editors: 
Alfred B. Kuttner 
Wilton A. Barrett 


Associate Editors: 

Frances C. Barrett 

Bettina Gunczy 

The Director's Alibi 

TllLRE has recently been considerable heart- 
searching in American directorial circles. The 
present showing of Variety in New York and 
of various films such as Faust, The Three Jf'ax 
Works, and Shattered In Los Angeles, the marked 
success of the revivals of many foreign pictures, and 
the distinguished work of several recently imported 
directors supply the immediate cause. Tlie danger- 
ous preference of the public for these pictures, the 
unstinted praise of them by the critics, and the de- 
mand of many of our stars to be presented before 
their audiences in pictures of equal merit, have made 
our directors uneasy. And there have been alibis. 

We may dismiss the protest of our more nervous 
defenders that the worst of the foreign films are worse 
than our admittedly bad films as purely childish. It 
is quite obvious that the comparison lies only between 
the best films on either side of the Atlantic. 

The alibis take various forms. One of them is 
this so-called censorship of ours. Now six of our 
states, it is true, exercise a legal censorship variously 
and often arbitrarily enforced. But in the remain- 
ing fortv-two states there is no censorship except the 
taste and standards of the state of culture in which 
we live. It is these standards which the National 
Board of Review seeks to interpret for the guidance 
of the industry, including directors. And the Board, 
contrary to the legal censors, does not believe in^any 
limitation of theme. The treatment, not the subject 
matter, is the all important thing in the making of any 

That much restriction, then, the American director 
must face. He has to make pictures that will not 
be unconditionally barred from the screen in the six 
censorship states and his pictures must be in general 
harmonv witii the cultural standards of society. If 
he wants to call this a form of censorship whicii par- 
alyzes his artistic development let him make the most 
of it. But the majority of people will continue to 
consider it a very inadequate excuse. 

For every one of the foreign pictures in question 
have had to meet these same conditions, have been 

accepted under the same rules, and have survived the 
rarely drastic cutting of the state censors. In the 
last few years the restrictions upon American pic- 
tures have been well known in European studios. 
The Last Laugh and Variety were not made in the 
dark. They are the latest and the best foreign pic- 
tures, better than the historical series that preceded 
them, more expressive of our civilization and boldly 
interpreting it. Why are they being discussed and 
praised while our feature pictures are being excused? 
Why has not censorship been a blight here too? 

The answer is simple. The men who made these 
pictures proceeded on the principle that the proper 
concern of the artist is his art, not the policeman at 
the corner. He went to work like an artist deter- 
mined to make the best picture he knew how. He 
had a proper respect for the intelligence of his audi- 
ence in choosing his plot, (the current notion that 
plots must hit the ten year old level is only another 
side of this censorship phobia) and then worked it 
out within the limits of his medium while constantly 
experimenting to enlarge the scope of that medium. 

In other words with him the problem of censor- 
ship came last, not first. And fortunately it holds 
true that the real artist rarely comes into conflict 
with the more obvious regulations against immoral 
conduct. He may challenge society, his new and 
disturbing interpretation of life may upset our con- 
servative equilibrium, but he is rarely locked up for 
indecent exposure. Crudity is the antithesis of the 
aesthetic and the entire striving of the artist is to 
present the actuality and ugliness of life in beautiful 
forms. He has nothing in common with the director 
who complains that censorship cramps his bathroom 
style or whose feelings are hurt when the tabu of 
good taste descends upon his cheesecloth bacchanalia. 

So perhaps the advice to our directors ought to be: 
Gentlemen, make your pictures better and take your 
cliance. For, as D. W. Griflith once said, a good 
picture can always be cut. It is only the bad picture 
which bleeds to death at the touch of the scissors. 

— Alfred B. Kuttner. 

Music and the Movies Made One 

by Vitaphone 


Al'ICTURK s■dl^^I, on Broadway a few n\ghti 
af^o — a screen picture of a lovely woman — 
sanff the glittering, colorful Caro Nome from 
"Kigoletto" as it is seldom given a (iilda to sing it. 
I ^nto tlic siKer screen she llaslicd, moveil with all the 
grace of Venii's heautiful heroine — smiletl and parted 
her lips. As the imagination of the audience started 
to fashion mentally the magnificent Hights of the 
great aria, a Hood of song hurst from the pictured 
lips. On ami on the voice of the singer swept, until 
it hurst into full flower with that gorgeous climatic 
note which placed the singer, Marion Talley, ilefin- 
itely within the Metropolitan Opera constellation just 
a- few months ago. 

The audience saw Marion Talley's "Gilda," on 
the screen. It heard Marion Talley's "Gilda," in 
all its splendid heauty, as it poured from the soulless 
vitals of a machine. The shadow on the silver sheet 
had at last become articulate. 

The Vitaphone was the thing which hail made the 
cinema figure sing with such absolute fidelity. Anel 
a happier designation could hardly he imagined. A 
living sound, this — even though it had been stored 
by science within a machine, to be released at. the 
will o*" an operator, at the precise moment when the 
throat of the "Gilda" of the screen swelled with the 
first liquid note. 

It was the prelude to "Don Juan," the cinema pro- 
duction which ushered in the new art and new tech- 
nique of perfectly synchronized music and picture?. 
Giovanni Maitinelli appeared on the screen and sang 
Vesti la Giubba, from I. Pagliacci, with dramatic fer- 
vor. The delicate Humoresque, Dvorak, throbbed 
from the violin of Mischa Klman. Efrem Zimbal- 
Ist, with liarold Bauer at the piano, swept through 
the splendors of a movement from Beethoven's 
"Kreutzer Sonata." The cameo-like tones of Anna 
Case were heard in La Mesta supported by the Can- 

Then came John Barrymore's ]iicture, "Don Juan." 
The orchestra pit was empty. Sutldenly I lenry 
Hadlcy and the entire New York Philharmonic 
orchestra appeared upon the screen. The great 
conductor lifted his baton. The orchestra tensed 
before the eyes of the audience. As the baton 
fell, the strains of the "Don Juan" jirologue swept 
out from the screen and filled the theatre. The 
throb of the violin choir pulsated in perfect time to 

the mo\ enients of the bows. The flutes trilled to the 
movements of the fingers of the players over the 
reeds. The coiuluctor, himself, coulil find no flaw 
in the mathematically exact synchronization, and the 
fidelity of the musical reproduction. 

The orchestra fadeil out, as the prologue came 
to a close. But its music remained throughout the 
showing of "Don Juan," in an accompaniment that in- 
terpreted, musically, the action of the film as faith- 
fully and as beautifully as though the unseen players 
were in the pit, playing to the picture as it unfolded 
before their eyes. 

In "Don Juan," no effort has been made to put 
words in the mouths of the actors. But the presenta- 
tion, with its elaborate prelude, has proved, con- 
clusively, that this union of art and science has con- 
quered every mechanical problem that has kept the 
cinema inarticulate. 

How had this marvellous effect been produced? 
The most intricate and difficult of scientific and me- 
chanical achie\ements are usually capable of simple 
explanation, when the inventor has attained his goal 
of perfection. This is true of the Vitaphone. 

NO other agencies have given such persistent 
and highly organized attention to the sci- 
ence of acoustics as have the Bell Telephone Labora- 
tories, the Western Electric Company, and the Vic- 
tor Talking Machine Company. In developing equip- 
ment for conversation over wires, scientists of the Bell 
Laboratories and the Western Electric Company 
have necessarily been led into bypaths from time to 
time. One of these bypaths ended at the Vitaphone, 
and' in solving problems of the recording studio the 
Victor laboratory organization came into the picture. 

Then months of experiments in the Warner Brook- 
lyn studios and the Warner Theatre finally culmi- 
nated in the perfect union of music and motion pic- 
tures as shown at the Warner Theatre. 

Three scientific developments are involved in the 
new instrument. 

The first step was the creation ot the electrical 
system of recording, which in itself has revolutionized 
the art and science of storing sound for release at 
any desired time. This system involves a highly im- 
proved microphone which takes the sound from the 
air, an electrical amplifying apparatus of almost un- 
believable efficiency, and a record cutting mechanism. 

Aiioust, Ninrtrrri Tirenty-six 

Because of the scnsiti\-eness of the miLTopliniu- em- 
ployed, reconiiny may he carrieil on at eorisidei-ahle 
distance from the source of the sound, so that the 
actors may he ^roupeil in any desired manner, rathei^ 
than imiTiediately in front ot the "ear" of the ap- 

An electrical reproducer, which takes the sounil 
off the record, amplifies it throujfh \acuum tuhes and 
passes it througli a loud speaker of highly improxed 
type, is the second essential feature of the Vitaplione. 
Tlie loud speaker is sufficiently powerful to fill the 
largest motion picture auditorium, without distortion 
of the sound. 

The third difficulty which the scientists hail to over- 
come was the link between the ear and the eye. This 
involved the studied placing of the louil speaking 
telephones in such a way as to give the illusion that 
the source of sound was the figure on the screen. 
Consideration also had to be given to correct values 
I and naturalness of tone. 

CO-ORDINATION of the entire system with the 
pictures was obtained through an apparatus cap- 
able of being operated in any theatre, without requir- 
\ ing special skill. Both the film and the sound record 
are set in their respective machines with a given mark- 
er at the proper point, and the two machines are 
speeded up from rest, simultaneously, by the sim- 
ple method of having them coupled to the opposite 
ends of the same motor. "Taking" the sountl and tak- 
ing the pictures at the same time involved a more dif- 
ficult problem than reproduction in the theatre. Since 
the camera had to be free to move on its tripod, a single 
motor could not be used for camera and recording 
turntable. This difficulty was overcome by using two 
motors, — one to drive the camera and one for the 
recording machine. An ingenious electrical gearing 
device maintains the synchronization of speed of the 
two instruments, not only after they reach full speed, 
but also while they are speeding up. 

The revolutionary effect of the Vitaplione is not 
confined to pictures filmed after the perfection of the 
invention. Existing films may be projected in the 
usual way, and the music recorded in synchronism 
with the projection, instead of in synchronism with 
the filming of the picture. Any picture which has 
ever been produced can be orchestrated, and the 
orchestration as perfectly synchronized for repro- 
duction as if the film were taken and the music re- 
corded simultaneously. 

In earlier efforts to synchronize music and motion 
pictures, there was the seemingly insurmountable dif- 
ficulty created by having to place the performers very 
close to the recording equipment. With the higli 
development of electrical reconling, this difficulty has 
been entirely removed. 

Another difficulty encountered in earlier experi- 

ments was that ol i'e|)|-oduciMg music oi' siiecch with 
the proper loudness, and especially in the case of the 
music, with fidelity. It was necessary that every tone 
or note, e\-ery \-oice or instrument, should be repro- 
duced with absolutely correct \alue. The electrical 
device which con\erts the vibrations of the needle in 
the record groo\e into pulsating electrical currents, 
together with the amplifying system and the molli- 
fied public address loud speaker equipment were re- 
sponsible for the faithful and exact reproduction of 
the Vitaplione. 

One of the many intei'esting aspects of the devel- 
opment of the Vitaphone is the fact that it is an- 
other example of extraordinary accomplishment 
through cooperation of apparently unrelated indus- 
tries. "Don Juan,' its glittering prelude, and the 
synchronized music represent the combination of the 
efforts of Warner Brothers, the motion picture pro- 
ducers, the scientific research of the Bell Telephone 
Laboratories and the Western Electric Company, and 
the recording experience of the Victor Talking Ma- 
chine Company. 

No story of the perfection of the Vitaphone can 
convey an accurate idea of all the problems encoun- 
tered. Many of these problems had to do with stage 
management. So sensitive is the recording micro- 
phone that it picks up the slightest sound. There can 
be no spoken stage direction while the recording is 
being done, just as there can be no exti^aneous gesture 
before the camera. One rehearsal after another 
was necessary until the action and the music move 
forward without the slightest hitch. 

An illustration of the sensitiveness of the micro- 
phone is the sound-proof booth in which the motion 
picture camera had to be enclosed, to keep its me- 
chanical sounds off the musical record. 

SO much for the present of the Vitaphone. Its future 
can only be surmised, but experiments already 
conducted have pointed out several channels of de- 
velopment. Great operatic performances can be pre- 
served, in their entirety, for both eye and ear by the 
\'itaphone. Popular stage successes may be filmed 
and recorded. But most probable of all, a new pro- 
ducing technique may be developed through scenarios 
with dialogue written solely for the film and the voice 
of the Vitaphone. With such films, there would be 
no more titles Hashed on the screen. The Vitaphone 
would carry the action and the voices. 

Educationally, the new invention undoubtedly has 
a field, in the opinion of producers and scientists. Il- 
lustrated lectures in schools and colleges are entirely 
within its scope. Churches may find in it a tremen- 
dous aid to more impressive services through the ex- 
tension of the activities of the greatest choirs and the 
the greatest pulpit orators to many audiences simul- 

National Board of Review Mac.azinr 

Exceptional Photoplays 

Selected by the Committee on Exceptional Photoplays 
Secretary and Department liditor, Al.I RI-I) 11 KU I TNHR 

Don Juan 

Dlrtflrd by .-Iltin Crijilaiid 

l'liiilijyriil>htd by Byruri Haskiiis 

The Cast 

Dun J II (I II John Barry mure 

.Idriaiia Delia I ariiese Mary Astttr 

I'edrillo If illard Louis 

Liicretia lii/ryia Estelle Taylor 

Reiia (.Idriaiia's Maid) Helene Costello 

Maia (Lucretia's Maid) Myrna Loy 

Beatrice Jane Ifinton 

Leandro John Roche 

I'riisia June i\larloive 

Don Juan (5 years old) Yvonne Day 

Don Juan ( 10 years old) Phillipe de Lacy 

Hunchback John George 

Murderess of Jose Helene d'Ali/y 

Caesar Bori/ia Warner Oland 

Donati Montague Love 

Duke Delia I arnese Josef Sivickard 

Duke Alarijoni Lionel Brah/ii 

Imperia Phyllis Haver 

Martjuis Rinaldo Nigel de Brulier 

Marquise Rinaldo Hedda Hopper 

Alchemist Gustav von Seifertitz 

J' he Dowager Emily Pitzroy 

Sheldon Leicis 
Gentlemen of Rome ■ Gibson Gowland 

Dick Sutherland 

DON JVJN, a notable picture in many ways, 
falls into the category of elaborate and sump- 
tuous screen production rather than into that 
ol ingenius and technically thrilling cinematics. It is 
a picture built along the lines ot romantic melodrama, 
with all the melodramatic virtues and many of the 
melodramatic sins. Beginning well enough in a stark 
and realistic prologue which prefaces its legend of 
the Middle Ages' super-lover, it lapses in the story 
P'-oper into mere plot dexterous but not always prob- 
able and in the end takes on the color of the costly 
super-feature with its characteristic sacrifice of real- 
ism to thrill, fast action, and more thrill. Here the 
characters as persons drop out and the old machinery 
appears. The film will keep tlie autlience on the edge 
of its chairs, although any historians among it will 
possibly slump back. But their attitude will not be 
noted by the Bcn-1 lurians antl all other lovers of spec- 
tacle and the great effects that the screen can give 
who will surely be entranced, as well as all the idol- 
i/.ers of Mr. John Barrymore ami the love story on 
the grand and gorgeous scale. 

i'or much of Don Juan is gorgeous ami grand, and 
Mr. Barrymore is much of the time very beautiful. 
And very beautiful are many of the ladies in the cast 
;ind in support of the cast. .An item not to be over- 
looketi by the exhibitors and their public. Moreover, 
although these ladies are frankly used to enhance 
scenic values and salt the banquet, their effect is entire- 
ly and legitimately Italian of the times. In spite of 
the rack, the dagger and the poison, a grand time 
must surely have been had by all, and a fine time it 
was for a hale lad like Don Juan to be living in. 

The plot, which in the cause of truth it siiould be 
stated bears at no time any relation to Byron's im- 
mortal opus, concerns the meeting of Don Juan with 
fate in the shape of a pure and constant young wo- 
man, at the \ery moment he is engrossed in carrying 
out his father's cynical dictum to take advantage of 
nil the members of the weaker sex he can. This meet- 
ing throws his life, as might be said, into inner con- 
flict, out which emerges a singularly I'uritan-like, 
but no less passionate and heroic, hero. He surveys 
his past existence not only with misgivings but a down- 
right stroke of conscience, abandons his old ways, ex- 
cept for a moment or two in the hazardous company 
of Lucretia Borgia, and consecrates himself to an 
ideal. Owing to the fact that this ideal in the form 
and features of the lovely lady Adriana Delia Var- 
nese is the promised bride of Donati, a particularly 
villainous friend of the Borgias, and becomes, before 
Don Juan kills Donati, that gentleman's distracted 
wife; also that in the meantime Don Juan is some- 
what entangled with Lucretia and keeps on hurting 
her feelings — his pursuit of his lady love is fraught 
with all the eiifliculty, not to say peril, that the most 
hopeful of motion picture audiences could wish or 
expect. Both Don Juan and Adriana are thrown 
into the dungeon, he to tlie of water-rot and rats, she 
to keep an appointment in the torture chamber. But 
he gets free, rescues her from the wheel ami bears 
her away umler the astonished eyes of Lucretia and 
Caesar. Thereafter he leaps on a horse ami fights 
through to escape, staging a kimi of Doug Fair- 
hanks spectacle in which single-hamieil, on his charger, 
he overcomes with only the sword in his hanti a whole 
troop of the Borgia cavalry that have gone in pur- 
suit. The latest scene shows Don Juan, on his horse, 
bearing his rescued maiilcn away — into a great red 
Italian sunset — presumably toward his castle in Spain. 

/tiii/iitt. Niiicti'i-n Tivrrily- 

I)())i JiKiii as a picturf with (.'laim to artistic merit 
is oiitstaiuiliij^ for its success I iiI rciuicrinij; ot the Miti- 
dle Ages, aiui particiihirly tiie Borgia backgrouiKL 
'File great sumptuous shadowy palace lit by Hambeaus, 
the ilark e\il passages, tlie mouldy dungeon; the going 
and coming ot a pageant ol lite, colorful, careless, 
yet sinister; the supremacy ot e\ll, the decadent will 
ot' the rulers, the constant threat over the life of the 
innocent; the bacchanalian revels above the foul 
tlungeons and torture chambers — all these ha\e been 
rendered with \'l\ldness and apparently with little eye 
to the expense. N'iewed physically as film, the whole 
is lavish, big, panoramic and impressive. At all times 
Bryon Haskins and 1-rank Kesson have dotie a bang- 
up camera job, shooting squarely at great sets where 
the lighting is often magnificent. 

So too is the direction on a big. swaggering scale, 
with an eye to getting it all in and keeping the mass 
in interesting or thrilling flux; yet the detail is in- 
variably careful. Alan Crosland, the director, is to 
be congratulated. 

Bess Meredyth who adapted the story for the 
screen has taken every advantage of the scope allowed 
to pack the film full of the kind of situations that keep 
an audience alert, and the plot turns and twists 
through a labyrinth of events that take the characters 
in an energetic procession, where much appears that 
is beautiful, or breath-taking, or both, on to a satis- 
factory ending, with Barrymore always in the van. 

The fine sequences of dramatic strength and scenic 
beauty are those of the prologue, the first appearance 
of the Borgias riding through the crowd on their 
chargers, the attempted seduction of Adriana by Don 
Juan and his realization of the chastity of Adriana. 

Mr. John Barrymore gives a fine romantic per- 
formance in the part of the cynically amorous Don 
Juan. There is just a touch of his work in the play 
"The Jest" in his Interpretation of the careless young 
Spaniard — as there is reminiscence, indeed, of the 
play In the sumptuous mounting and effect of the film 
itself. Mr. Barrymore is too fine an artist to have 
overlooked any slight angle of character which, 
against the given background, would contribute to the 
medieval flavor of the production. To the strictly 
critical, his work would only seem to err in a certain 
approach at times, as before mentioned, to the acro- 
batics of Mr. Fairbanks. At these moments the sin- 
cerity of his acting is surrendered to pure theatrical- 
ity. Perhaps the most enchanting performance is at- 
tained by Mrs. Jack Dempsey, Kstelle Taylor, in 
the role of Lucretla Borgia. Given the character as 
the popular notion woulil have Lucretla, Miss Taylor 
is IT. She is the most medieval thing in the picture, 
and her Lucretia emerges as the work of a finished 
actress. Her Borgia huiy is beautiful, sinister and 
subtle, and never falls to the level of the film vamp. 
With her the Middle Ages is always at hand, opulent. 

dangerous and unmoral, ready for an embrace or the 
Hash ot a jewelled ilagger, for lo\e or for re\enge. 
ller Lucretla is probably not the real Lucretia, the 
beautiful, weak tool and attractress of a perverse anil 
politically scheming fathei- and brother. But it is the 
Lucretia as the public wouKl have her, the highly al- 
luring partner of her brother Caesar's crimes. 

Warner Oland as Caesar Borgia is finished, as it 
is his art always to be, but certainly more of a villain 
In appearance, more the victim physically of his de- 
bauches, a trlHe more leering, than could have been 
the historical most handsome youth and arch con- 
spirator anil nunnlerer who ran Rome for a span 
and conducted his private and public affairs at niglit 
with a finesse, a personal charm, a splendor and a 
spilling of blood rarely equalled. Perhaps Mr. John 
Barrymore will gi\^e us a screen Caesar some day. 
Watching him in Don Juan the thought arises that 
here would be the ideal young Borgia, the golden 
haired and strangely Impelling adventurer who hail 
no conscience and many talents, who slept from dawn 
to dark, and managed his court, his orgies, his tor- 
tures and his intrigues, after the fashion of the artist, 
in the soft hours of the Italian night. Montague Love 
ii a sufficiently repelling Donati to make us feel satis- 
fied when Don Juan runs him through in a sensational 
and skillfully directed duel, and Josef Swickard as 
Duke Delia Varnese, gives a fine rendering of a noble 
Italian persecuted by the Borgias. Likewise Nigel de 
Bruller as a gentleman gone mad is most satisfactory. 

Wlllard Louis as Pedrilla, Don Juan's servant, de- 
serves a paragraph to himself. Keying his inter- 
pretation to the mood of a kind of Sancho Panza 
touched up with the cunning of a capable lackey, this 
always competent actor — one of the best on our 
American screen — keeps well to the fore in every 
scene he appears in, and is in variably natural and 
amusing. His comedy is always of the best. 

Mary Astor as Adriana, Phyllis Haver as Imperia, 
Helene Costello as Adriana's maid and Myrna Loy 
as Mala, Lucretia's, all do capably what is expected 
of them, not the least of which is to look beautiful 
as all medieval ladies and their maids-in-waiting 
should look. This may also be said of June Marlowe 
as Trusia who, if we remember rightly, is chieHy in 
the picture to add romance by giving Don Juan some- 
one to kiss on a balcony and of Helene D'Algy who 
is there to finisih off Don Juan's father so that the pro- 
logue may get on into the story. 

I'"xceptional cast and enchanting support, then, plus 
sure-fire story interest, energetic direction and im- 
pressi\-e scenic in\estiture, gi\'e Warner Bros, a super- 
feature to be proud ot. 

{From the story suggested by Lord Hymn's poew 
"Don Jniin". .Idafled by Bess Meredytli. Produced 
and distributed by IVarner Bros.). 

Natiovai, Hoard of Review Macazike 

The Show-Off 

Direct rd by Malculm St. Clair 

J'liotoi/riiphftI by Lee Giirnies 

The Cast 

/luhrey Piper F(jr{l Sterlirifj 

Amy Fisher Lois Wilson 

Clara Louise Brooks 

J tie Fisher Greyory Kelly 

Pop Fisher C. IF. Goodrich 

Mom Fisher Claire McDoiuell 

Railroad Executive Joseph Smiley 

THE SnOlf'-OFF falls Into the class of far- 
abo\ e-thc-a\ crage photoplays for three good 
reasons, it brings forward Ford Sterling, the 
old Mack Sennett comedy star, as an actor of 
imagination and ability to be taken seriously: it pre- 
sents a story in which real people are readily dis- 
cernible in surrouiulings which are faithtul to their 
walk in life; and most important, its method is often 
strikingly ingenius and in the path of true motion 
picture, to the extent that The Shozi-Off in certain 
moments reminds us of the technical example of 
f'ariclw The Shozc-Off, however, presenting as it 
does in screen form the play on the legitimate, is 
comedy drama and achieves no such pinnacles as the 
great German film. But it is direct, evenly registered 
antl interesting throughout, and to the enthusiast and 
admirer of details, in technical resourcefulness it is 
often original and thrilling. 

The picture tells the story of an incurable tour- 
flusher — the "show-off" Aubrey. He wins tiie love 
of Amy Fisher, a rather silly girl, the daughter of 
poor, struggling, to a large extent life-defeated peo- 
ple. To Mr. and Mrs. lisher, the parents, to Joe, 
the younger brother, striving to perfect a chemical 
patent, and to Clara, the modern, self-reliant, wise- 
mindetl girl to whom Joe is engaged, .Aubrey is a 
composite of pest, farce ami tribulation. But their 
snubs and ridicule and irritations roll off .Aubrey like 
\iater off a tluck. His ego uiuier every shock, set- 
back ami misfortune is invincible, his effrontery rises 
triumphant at e\'ery turn; underneath it all is sonic- 
thing wholly human in him with a streak of good-will, 
pathos, even tentlerness. The comedy takes an ironic 
twist when, after marrying .Amy, finding himself un- 
able to sustain a home for her, getting arrested for 
reckless driving ot the Fortl car he has won in a 
lottery — which last necessitates Joe paying his thou- 
sand dollar fine with the mortgage money needed to 
save the family's humble dwelling — Aubrey succeeds, 
through those very qualities of braggadocio and brass 
which have made him all along so futile and unbear- 
able, in selling to the board of directors of a great 
steel concern young Joe's chemical formula for a 
metal-protecting paint, thus bringing more monev to 

the family coffer than :inyone hail e\er dre:imeil could 
repose there. 

Ford Sterling as Aubrey is wholly convincing, en- 
tirely intelligent in seizing on the essential nature of 
the character and giving it to us in pantomine. We 
have all seen in life the fellow whose portrait Mr. 
Sterling draws. The rest of the cast, composed of 
I.ois Wilson, Louise Brooks, Gregory Kelly, C. W. 
Goodrich, Claire McDowell and Joseph Smiley, 
pro\e competent and give life-like performances, 
iheir characters move in an atmosphere which has 
been gathered at considerable pains. The locale is 
middle-class Phihulelphia on the lower fringes, where 
pride and respectability are able to cling only with 
a good bit of hanl work and sacrifice. The exteriors 
have apparently all been shot on the spot and thus 
the autlientioity is doubly reinforced. 

The characteristic technical manner — the camera 
play and arrangement of action to render scenes that 
make for the unusual and the provocative in this film 
— may be watched for principally in such sequences as 
tl:at where .Aubrey adventures wildly in his newly 
acquired Ford through the congested streets beneath 
the stolid figure of William Penn on City Hall, in 
uhich the effects of dizzying flight are captured by a 
rapidly swinging camera; that disclosing the incident 
of the death of Mr. Fisher, the pathetic head of the 
still more pathetic P'isher family, where all is told 
eloquently without the remains of Mr. P'isher iiaving 
til be revealed; and the last in the picture, that where 
Aubrey hurries home with the check which is to save 
foreclosure of the mortgage, just as Mrs. Fisher is 
about to sign the fatal paper permitting that action. 
.Most interesting ingenuity is here devised to create 
suspense by the simple use of a fountain pen which 
has run dry, the search for a pen and ink bottle to 
take its place, and the reluctant dipping of the pen 
into the bottle and the final pause before Mrs. Fisher 
can resign herself to the necessity of setting her sig- 
n;iture to the tragic document. This is accomplished 
by close-ups of pen, bottle, and Mrs. Fisher's hand 
cunningly photographed and cut. interspersed with 
siiots of Aubrey hurrying home with the salvaging 
check in his pocket, introducing \arious incidents of 
delay such as his skipping through traffic, pausing to 
josh the traffic officer who causetl his arrest, the strug- 
gling to escape the clutches of a second-hand clothes 
man who insists on taking him into his store to show 
him his stock. 

.An uncommonly fine little picture, every foot of 
which is worth seeing, and so clearly told as not to 
need many of the sub-titles that go with it, unusually 
good as these invariably are. 

(From ihr play "The Shozv-Off" hy George Kelly, 
.hidpted hy Pierre CoUinys. Prudiiced mid di.Urihul- 
rd hy Pdriiwoiiiil.) 

Auiiiisl, Ninrliiii Tuinly-six 

Guide To The Selected Pictures 

Selected by the Review Coinmitlees 

Key to Audience Suitability 

General audience (Loniposcil piiiKMpal- 
iy ot ;niults). I'ifturcs primarily intcr- 
cstinj; to adults — but pictures not ordinar- 
ily recommended for boys and uiris may 
he included in the list if the presentation 
is not obiectlonahle for them. 

Family audience, including young peo- 
ple. Pictures acceptable to adults and 
also interesting: to and uholesonic for boys 
and };irls of Hifih School a^e. 

Family audience, including children. 
Pictures -acceptable to adults and also in- 
teresting to and wholesome for boys and 
girls of grammar school age. 

Mature audience. Pictures recom- 
mended for the consideration and enjoy- 
ment of adults. 

Note: — Programs for Junior Matinees 
should be selected from pictures in the 
family audience classification. 

* — Pidurcs especially interrstinij or iccll 
(I'liie but ii'/t necessarily "exceptional. 

The Bells 

Directed by Janus ) omit/ 

Featuring Lionel Barryniore 

Flay by Leopold Leuis 

AN interesting story of a guilty con- 
science. An inn-keeper murders a 
man for his gold and afterwards his 
wealth brings no peace of mind as he is 
nearly driven crazy by the sound of bells 
which had rung out merrily from the 
sleigh of the murdered traveler. 
For the mature audience. 

(Chadwiclc Pictures — 7 reels) 

The Demon Rider 

Directed by Paul Hurst 

Featuring Ken Maynard 

CURE-FIRE riding, and direct melo- 
^ dramatic appeal, in a lively western 
drama. The story is built around a troupe 
of bandits who after exciting pursuit are 
captured and brought to justice. 

For the family audience, including chil- 

(Royal Film Corp. — 5 reels) 

she is accused of intrigue uith the enemy 
u hen an important treaty is stolen from 
her hag, hut the American secret service 
conies to the rescue and gets the guilty 

I'or tlie general audience. 

(Paramount — 8 reels) 


Directed by Marshal Ncilan 

Featurinti Blanche Sweet 

Play by I'ictorien Sardou 

INTERESTING drama of the secret 

service. V'oung girl just married to an 

English diplomat, becomes involved with 

a man to whom her mother owes money, 

The Duchess of Buffalo 

Directed by Sidney Franklin 

Featurinff (Constance Talniadijc 

Orir/inal screen story by Hans Kraly 

A ROMANTIC comedy of an Ameri- 
can dancer in Germany, and the diffi- 
culties she encounters when she poses as 
a duchess. Through the aid of her fiancee 
she is able to disentangle herself from the 
web woven by circumstances. 
For the general audience. 

(First National — 7 reels) 

Fig Leaves 

Directed by Houard Haivks 

„ . [Olive Borden 

r eaturing '. ^ ,^,n ■ 

I Ucorge (J tSncn 

Original screen story by Houard Hau'ks 

UNIQUE comedy drama of a modern 
Adam and Eve. The story opens 
with Adam and Eve in the Garden of 
Eden with Adam running to catch the 
commuter's train and Eve complaining 
that she has nothing to wear. The Ser- 
pent enters the Garden and here the pic- 
ture dissolves into modern times, the Ser- 
pent being represented by the girl friend. 
The story is interesting and the subtitles 

For the general audience. 
(Fox — 7 reels) 

Flame of the Argentine 

Directed by Edivard Dillon 

Featurinff Evelyn Brent 

Original screen story by Bert Jenkins and 

Craig Johnson 
D O.MANCE of an Argentine woman 
■'•^ who has lost her baby, each year she 
adds a marvelous stone to a necklace, al- 
ways hoping her child will return to claim 
the necklace. A girl in a dance hall is 
persuaded by a man who wants to get the 
necklace to pose as the missing daughter 
and to go fifty-fifty with him when she 
gets the necklace. Love and pity get the 
best of evil and the girl confessing her 
guilt is forgiven ,ind rem.iins as the 
adopted daughter. 

For the general audience. 
(F.B.O.— 5 reels) 

The Great Deception 

Dirccleil by Hoivard Hic/i/ins 

/■ , \/iileen Prinrile 

/■ ( alnring , ' 

I lien Lyon 

Novel "Ycllou' Dove" by Cieorge Gibbs 
INTERESTING war drama dealing 
with the secret service during the 
World War. A young Englishman in the 
secret service is scorned by all, except the 
girl he loves, as a slacker, later his hero- 
ism wins him honors. 

I'Or the general audience. 

(First National — 7 reels) 

Her Man O' War 

Directed by Frank Mason 

Featuring Jetta Goudal 

Original screen story by Fred Jackson 

A WAR romance of two American 
dough-boys sent into a German town, 
to pose as deserters but who are to find 
a secret passage which leads into the 

One of the dough-boys falls in love 
with a girl, half French and half Ger- 
man, and through her aid he is able to 
accomplish all he set out to do. 
For the general audience. 
(Producers Distributing — 6 reels) 

A Hero of the Big Snows 

Directed by R. C. Ray maker 

Featuring Rin Tin Tin 

Original screen story by Ewart Adamson 
D IN-TIN-TIN or Rinty, as the fans 
■•■^ are now calling him, becomes devoted 
to a lonely trapper who has rescued him 
from a cruel master. He rescues the lit- 
tle sister of the girl in whom the trapper 
is interested from a wolf but is suspected 
of having been the culprit and becomes an 
outlaw. The little girl later becomes sick 
and the trapper sets out through the snow 
to get a doctor. But the doctor refuses 
to come on account of the danger of be- 
ing snowed in. The girl starts out for 
the post with the sick child and is at- 
tacked by a pack of wolves. Rinty gets 
help and returns in time to fight off the 

For the family audience including chil- 

(Warner Bros. — 5 reels) 

The Lodge in the Wilderness 

Directed by Henry McCarthy 

Featuring Anita Stcivart 

Novel by Sir Gilbert Parker 

A ROMANCE of the great forests. A 

■'^ girl becomes owner of vast timber 

lands. She is sought in marriage by a 


National lioARD of Rkvjew Magazine 

man « ho wants tontrol over the timber, 
but he loses out when an old sweetheart 
of her's appears. There is an excitinj; 
and rather convincing forest fire. 
For the general .ludience. 

(Tiffany Productions — 6 reels) 

The Lone Wolf Returns 

Dincliil l)\ Ralph luce 

.. , ■ \Bert Lvlrll 

'^ \Billie Dove 

Novel hy Louis Joseph Vance 
p.MKRALDS, rubies and diamonds 
■' — ' have no lure for the Lone Wolf, the 
clever international crook, when the love 
of a beautiful lady is the alternative. And 
Hillle Dove is indeed such an enchanting 
lady as this heroine that it is not difficult 
to see why the sparklini; jewels lose their 
charm. The gentleman robber is plying 
his trade among the estates of the wealthy 
and when about to be caught, through a 
(luick witted comedy ruse he escapes the 
clutches of the augmented police guard 
and the next instant, almost, finds him 
safe from the net of the law but caught 
in the net of love. The reform which 
love brings is quite welcome for it was 
hard to be justly stern with such an ir- 
risistiblc criminal, even the detective fails 
in this and proves quite a surprisingly hu- 
man person. 

For the general audience. 

(Columbia — 6 reels) 

Lost at Sea 

Directed hy L. J. Gasnier 

,. , ■ {Jane Novnk 

ieatunng \ j, , , 

Story hy Louis Joseph lance 
T^RAMA of a girl who chooses the 
^^^ wrong man and after five years of 
disillusionment her husband is supposedly 
lost at sea. Left with her son whom she 
idolizes, she seeks happiness in marriage 
with the other man, the one she has really 

Her dreams arc shattered when she 
learns that her husband had been rescued, 
but fate in the disguise of her husband's 
mistress steps in and frees her to find 
the happiness she had nearly lost. 

For the general audience. 

(Tiffany Productions — 7 reels) 

Featuring . 

Men of Steel 

Directed by George Archninbaud 

\ Milt on Sills 
' I Doris k enynn 
Saturday Evening Post story "United 

Slates Flavor" hy R. G. Kirk 
A MKl.ODRA.MA of the steel indus- 
try. Two sisters parted when babies, 
one brought up in luxury, her father head 
of the steel industry; the other brought 
up in poverty, and later united through 
their love for the same man. 

Good story with interesting scenes of 
the steel mills. 

For the general audience. 

(F'irst National — 10 reels) 

No Man's Gold 

Directed hy Louis Seiler 

Featuring Tom Mix 

Novel "Dead Men's Gold" hy J. Allan 

T^HREK men together hold the secret to 
■'• the location of a rich gold mine which 
is the property of a small boy. They set 
out in search of it but all three do not 
agree on the distribution of it and besides 
it is coveted also by others. There en- 
sues therefore much intrigue and fighting 
before a satisfactory settlement. Tony 
the horse does his share to see that all is 
righted but he is a little jealous to find 
out that his owner is now free to devote 
some of his time to his lady love, but of 
course 'there is still the small boy whose 
enthusiasm for horses and rodeos can only 
be equalled by that for his "partner." 

For the family audience including chil- 

(Fox — 6 reels) 

*Pals First 

Directed hy Eduin Careivc 

,. . \ Lloyd Iluc/hcs 

I- eatunng ri ;' ri ; d- 

I Dolores Del Kio 

Novel hy Francis F.lliolt 

A COMEDY romance of three tramps 
■'*■ who having wandered to a wealthy 
Southern home are admitted as the young- 
est of the three is mistaken for the 
younger son who had been reported lost at 
sea. Later when he is accused of being 
an impostor he proves that he is really 
the son, and tells the story of his adven- 
ture and his reasons for posing as a tramp. 
For the family audience including young 

(First National — 7 reels) 

Senor Dare Devil 

Directed hy Albert Rogell 

,. \Kcn Alaynard 

r eatunng , ^ ,, »-> 

{Dorothy Devore 

Original screen story by Marion Jackson 
D OMANCE of banditry. A small 
mining town is being slowly starved 
by having the wagon trains of supplies 
captured by bandits. A young man 
known as Senor Dare Devil finally cap- 
tures the bandits and also the heart of 
the girl he loves. 

For the family audience, including yovuig 

(b'irst National — 7 reels) 

The Son of the Sheik 

Directed hy George Fitzmaurice 

,. , {Rudolph I'alentino 

leatiirina ,.., ' ,, , 

I / ilnifi Hanky 

Novel by E. AL Hull 
QOUTH of Algiers is a land of romance 
and adventure and not the least roman- 
tic character in this romantic land is the 
son of the sheik. Handsome and bold, gor- 

geously robed and mounted upon a festive- 
ly trapped steed he dashes over the sandy 
desert. He chances upon a troupe of trav- 
eling entertainers and is enamoured of a 
lovely little dancer, portrayed by charm- 
ing V'ilma Hanky. Through the interfer- 
ence of her rascally father love fails to 
run smoothly and the son of the sheik 
takes matters into his own hands. Even 
the sheik himself, whose part is also 
played by V^alentino, cannot subdue his 
determined son, and all the thrills of the 
desert follow — fights, sand storms, wild 
riding — the the eternal ending — lovers 
united. 'J'he desert setting of sand blown 
hills and valleys is picturesque. 
For the general audience. 

(United Artists — 7 reels) 

*The Waltz Dream 

Directed hy Ludiiij/ Berger 

r- , \Mady Christians 

^- >■"""■""> Iinily Fritsch 

Operetta by Oscar Straus. 

As the soft and insinuating strains of 
the violin will often survive in our mem- 
ory after the blare of brass and drum has 
had its noisy day. The Waltz Dream 
comes into its own. 

The aged prince of a small European 
principality is seeking a match for his 
charming daughter. He has set his daugh- 
ter's cap for an eligible archduke. But 
she readjusts her cap in favor of a no un- 
certain Count Nicholas, who has been de- 
tailed to entertain her by the bored arch- 

As they dance to the strains of The Blue 
Danube he kisses her. According to the 
antiquated court etiquette that means mar- 
riage. The two young people are willing. 
But the court etiquette gets busy. The 
lovers are separated. The princess is dis- 
consolate. She decides to defy the silly 
court etiquette and to learn how to be a 
true Viennese. She succeeds admirably 
and recaptures the count. She makes her 
waltz dream come true. 

For the family a\idience including young 

( Metro-Goldwyn-Mayer — 8 reels) 

You Never Know Women 

Directed by // illinni If ellnian 

r- , ■ {Florence lidor 

/■eatunng ] 

iClive iSrook 

Original screen story by Erust Vajda 

T N'lT'RESTlNG romance of a Russian 
vaudeville troupe. The leading ma", 
whose act is to free himself from a closed 
box in a tank of water, is in love with the 
leading lady. A wealthy man falls in 
love with her also and it is not until she 
believes the leading man has drouned that 
she realizes she loves him. Later when he 
comes to her assistance when she is at- 
tacked by the wealthy man she forgives 
his deception. 

For the general audience. 

(Paramount — 6 reels) 

August, Nineleen Tuinty-six 


*Ball and Bat 

(Sportlijiht Series) 
Slu)uin>: games of sport played with 

I'or tin- taniilv amlieiice iiicludinf; chil- 

(Pathe— 1 reel) 

Big and Little 

(Sportlifjht Series) 
Sports and games tor old and young. 
Kor the family audience including chil- 

i (Tathi — 1 reel) 

Bull's Eye 

(Sportlight Series) 

Markmanship of all kinds. 
For the family audience including chi 

(Pathe— 1 reel) 

Down to Damascus 

Bihlical travelogue via caravan from 
Syria to Damascus. 

For the family audience including chil- 

(Fox — 1 reel) 

The Lumber Jacks 

Lumbering shown with pictorial beauty. 
For the family audience including chil- 

(Fox — 1 reel) 

*Pathe Review No. 31 

The Haunts and Habits of the Florida 
Atter; The Sacred Sixty Acres, the Tombs 
of the Mighty Dead in Algeria; With the 
Roosevelts in Turkestan. 

For the family audience including chil- 

(Pathe— I reel) 

*Pathe Review No. 32 
The Overland Ferry, a German substi- 
tute for Canal Locks; American Colleges, 
The University of Pennsylvania; Scram- 
bling About the Alps, Ways of Climbing. 
F"or the family audience including chil- 

(Pathe— 1 reel) 

*Pathe Review No. 33 
Laurka in the Sarashi Dance; American 
Wild P'lovvers ; The Wallop Works, a 

For the family audience including chil- 

(Pathe— 1 reel) 

*Pathe Review No. 34 

Hits and .Misses, Hilliardist Proves 'Fhat 
Both Have Value; American Colleges. 
Hrown; Fxcavations of the American Fx- 
cavations at Ancient Carthage led by 
Count de Prorok. 

l-'or the family audience including chil- 

(Pathe— 1 reel) 

*Pathe Review No. 35 

The Academy ; Saint Hartholo- 
niew's Lake, in the liavarian Alps; Fash- 
ions in Photographs. 

For the family audience including chil- 

(Pathe— 1 reel) 

Putting on Dog 

In which a number of breeds of dogs 

For the family audience including chil- 

(Fox — 1 reel) 

Songs of Italy 
Picturesque dramatized rendition of 
Italian popular songs. 

For the family audience including young 

(Pathe— 1 reel) 

The Spirit of Play 

(Sportlight Series) 
Games and Sports. 

For the family audience including chil- 

(Pathe— I reel) 


Alice Comedies 

Alice Charms the Fish; Alice Cuts the 
Ice; Alice Helps the Romance; Alice in 


the Woolly West; Alice's Monkey Husi- 
ness; Alice's Spanish Guitar. 
Cartoon comedies. 

I'or the f.-imily audience including chil- 

(F.B.O.— I reel each) 

All Star Freaks 

Interesting bits of human and other 

I'Or the family audience including chil- 

(Educational — 1 reel) 

East Is Best 

Krazy Kat cartoon comedy. 
For the family audience including chil- 

(F.B.O.— 1 reel) 

The Fight That Failed 
(Bill Grimm's Progress series) 
A burlesque boxing match. 
For the family audience including chil- 

(F.B.O.— 2 reels) 

The Lady of Lyons, N. Y. 

(Bill Cjrinini's Progress series) 
A school teacher comes to a new com- 
munity and finds some strange people. 

For the family audience including chil- 

(F.B.O.— 2 reels) 

The Mule's Disposition 

Why the mule has such a bad disposition 
told in cartoons to children. 

For the family audience including chil- 

(F.B.O.— 1 reel) 

National Board of Review 

70 Fifth Avenue 

New York City 

Enclosed is $2.00 for my su 





ine (comb 

ining Exceptional 

Photoplays and Film Progress.) 





.State . . 




See the Picture! Read the Book! 


Read the Book! See the Picture! 

Whichever is done first there is a detlnite rclationshi]) be- 
tween the pai^e and the screen. It may be your favorite fiction 
character conies to life and motion in the pictiux'. It may l)e a 
])icture g^iving yon a glimpse of a sul)ject which interests you and 
you turn to books for more information. 

However, let all picture patrons, belter films conunittees, 
libraries, schools, book stores, and exhibitors be ready for the 
■'Weeks" this fall which call special attention to this relationship. 

Motion Picture Book Week 
Children's Book Week 
American Education Week 

- November 7-13, 1926 

Three organizations which bring to communities a chance to 
link up good ])ictures and good reading; 

National Board of Review of Motion Pictures 
National Association of Book Publishers 
National Education Association 

The National Board of Review will compile an up-to-date list 
of "Selected liook- Films." that is, those pictures on the selected list 
which ha\e been adapted from published sources. This list is to 
be available in .September in time to arrange for I'ook Week 

For iujonuatioii on liozi.' to organize your connminity 

for observance of Motion Picture Book Week 

write to the 

National Board of Review of Motion Pictures 

70 Fifth Avenue, New York, N. Y. 




Vol. I, No. 5. 


The Little Theatre 
Movement in the Cinema 

Gross Exasfo-erations 


An Interesting Survey 

■ — ^ — 

Better Films 

Sept.-Oct. 1926 


Published montnly by the 


:ents a copy 

Established by The People's Institute in 1909 
70 Fifth Avenue, New York, N. Y. 

$2.00 a year 

Contents for September-October, 1926 

Special Articles 

Editorial, Gross Exaggerations, An Inti-rcstinf; Survey 10-11 

Alfred li. Kiilliur 3 Selected Book-Films ' 11 

The Little Theatre Movement in the Cinema Better Films Programs 12 

Syriinii Gniild 4-5 Films for Navy Day 19 

Exceptional Photoplays 

Alaskan Adventures 9 The Scarlet Letter. . , 8 

Beau Geste 6 Secrets of the Soul . . 7 

Selected Pictures Guide 


The Ace of Cads 13 

Across the Pacific 13 

The Amateur Gentleman 13 

Battlinj,' Butler 13 

The Belle of Broadway 13 

The Better 'Ole 13 

The Campus Flirt 14 

The College Booh 14 

Dancing Days 14 

Devils Island ..'. 14 

Fine Manners 14 

The Flying Horseman 14 

For Alimony Only 14 

Forever After 14 

Gigolo 14 

The Great K and A -Rohberv.. 15 

Hold That Lion 15 

It Must Be Love 15 

The Kick-OfiF 15 

Kid Boots 15 

Marriage License? 

The Merry Cavalier. . . . 

The -Midnight Kiss 

My Official Wife 

The Nervous Wreck. . . . 
One .Minute to Play.... 

Perch of the Devil 

Risky Business 

Smilin' Sam 

Sul)\va\' Sadie 

Take It From Me 

Ta.xi ! Taxi ! 

The Texas Streak 

Then Came the Woman . 

Three Bad Men 

Tin Gods 

The I'nknovvn Cavalier. . 

The Waning Sex 

AV^est of Broadway 

Woman Power 


Non-Feature Subjects 

The Alligator's Paradise 18 

Around the World in Ten Minutes 18 

Austrian Alps 18 

The Blue Boy 18 

Cliff Dwellers of America 18 

Falling Water Valley 

More Ways Than One 

Pathe Reviews, Nos. 36 to 42. 

The Restless Race 

Rnckv Mountain Gold 


Short Comedies 

Alice the Fire Fighter 18 

Benson of Calford 18 

Felix the Cat Misses His Swiss IS 

FiL'hting to Win 18 

Jolly Tars 18 

Making Good 

Rare Bits 

Smith's Pets 

What! No Spinach?. 
A Wild Roomer. . . . 


Copyriffhl 1926, The National Board of Review of Motion Pictures 

National Board of Review Magazine 

Associate Editors: 
Alfred B. Kuttner 
Wilton A. Barrett 


Associate Editors: 

Frances C.Barrett 

Bettina Gunczy 

Gross Exaggerations 

A GOOD m;iny people are disturbed in their en- 
joyment of motion pictures through the gross 
exaggerations which they see in many fihns. 
They find the ordinary proportions and relations of 
life distorted at every turn and come to the conclusion 
that such a grotesque misrepresentation of facts and 
conditions can never yield true artistic pleasure. 

This is undoubtedly one of the reasons why man\, 
discriminating people abstain from seeing motion 
pictures more frequently. They cannot understand 
why movie heroines invariably live in palaces which 
cnly a few multi-millionaires could really afford, why 
even the humblest room is much larger on the screen 
than the actual room it is supposed to represent, Vhy 
pistols are fired endlessly without needing to be re- 
loaded, why small heroes regularly worst the burliest 
\illians after having escaped from the most unbreak- 
able shackles, why there must always be close-ups of 
what is already plain to see. 

The inveterate movie fan, on his part, has pro- 
gressed far in the opposite direction. He accepts 
these exaggerations, is not disturbed by their dis- 
proportion, and in fact demands them, if we are to 
believe the makers of pictures. 

While the movie fan has perhaps gone too far the 
movie skeptic has certainly not gone far enough. 
For there is a real problem here, the problem of 
distinguishing between mere exaggeration and legiti- 
mate emphasis. Motion pictures have undoubtedly 
suffered artistically from the irresponsible piling up 
of effects, from a gaudy vulgar delight in mere num- 
ber and mass, as is illustrated so well in that capital 
storv of the producer who suggested having twenty- 
four apostles present at the Last Supper in order to 
make more of a crowd. 

On the other hand, motion pictures, like every 
other art, have developed their own legitimate artis- 
tic conventions which find their justification both in 
the limits and the resources of this new medium. In 
the rapid evolution of the last twenty-five years some 
of these conventions have been discarded after due 
trial while others have been accepted as an integral 
part of the cinegraphic art. 

Most of these conventions are determined by the 
nature and the functions of the camera itself. In 
the first place, the camera sees much more than the 
human eve. It sees every detail impartially and with- 

out effort. The eye always lags beliind and we never 
sec the whole picture at the first view. Kven after 
you have seen a picture three or four times, new de- 
tails will appear which you have not seen before. 
That is why details must frequently be emphasized 
in the telling of a story. 

Herein lies the justification of the legitimate close- 
up. It dramatizes a particular detail. The human 
eye, it is true, has no magnifying attachment which 
allows us suddenly to see a single object in enormous 
proportion to the exclusion of everything else. Yet 
psychologically this process takes place. When we 
are looking into a bandit's gun our vital vision 
is entirely absorbed by that gun even though our 
retina registers other details. The close-up of such 
a gun is a case of emphasis without exaggeration. 

Secondly, the camera is both quicker than the eye 
ard can dhange its speed at will. When this is com- 
bined with the illusion of continuous action wiiich is 
possible in a picture, we have a new dramatic use of 
speed, utterly denied to the theatre. Actually the 
galloping horses would drop of exhaustion, the auto- 
m.obile would burn off its tires, the endlessly dis- 
charged pistol would burst from overheating. But 
these realistic details do not matter. We are inter- 
ested in the man who is running for his life. A real 
man can only run so fast. He would like to be able 
to run as fast as lightning. Uniquely the camera al- 
lows him to do this. The imagination has triumphed 
over space. And is not all art concerned with over- 
coming the obstacles of real life and allowing our 
spirits to move serenely in an ideal world? 

To be able to distinguish between mere exaggera- 
tion and legitimate emphasis should be part of the 
e()uipment of every intelligent picture audience For- 
tunately the tendency to exaggeration has somewhat 
abated. Directors are beginning to appreciate the 
\'alue of artistic economy. Screen stories too are 
showing a more sober spirit. The stronger this reac- 
tion becomes the more opportunity there will be for 
the development of motion pictures as an independent 
:;rt. There is every reason to believe that we have 
a: yet only a faint notion of the sublime eloquence 
with which the screen may some day appeal to our 
hearts and our souls. For trite as it may sound, this 
art is still in its infancy. 

— Ai.FRF.D B. Kirr.vKR. 

The Little Theatre Movement 
In the Cinema 


Mr. Gould, zvlio is Direclor of the Film .his Guild, 
recently delivered this address before the Society of 
Motiou Picture Engineers <it Briar Cliff, A ezc 1 ork. 

■ — The Editor. 

ALL art movements have their inception in mi- 
norities. In the beginning, their purposes are 
regarded with indifference, often with suspi- 
cion. But if their aims are sound, they slowly pass 
through various progressive stages of transition, 
which ultimately evolve into the practical. Certain 
art movements, of course, are exceptions to this proc- 
ess, but these exceptions are so individualized and 
ego-motivated as to be of little use to civilization ex- 
cepting as passing phenomena of the life-spectacle. 

The film-art movement, however, is, I believe, 
destined to a wide acceptance because it can draw its 
first energies from the tremendous reservoir of pres- 
ent-day motion picture production and for the reason 
that its propelling principles are not revolutionary, 
but evolutionary. 

Is there a necessity for such a movement? Are 
not the producers themselves concerned with injecting 
elements of sincere artistry into their production? 
It cannot be gainsaid that important strides have been 
made by producers in creating films which make every 
effort to be finely done, and in many instances their 
attempts have been crowned with success, but it must 
be conceded that the very nature of motion picture 
production as it is constituted to-day with its intense 
commercialized conditions increasing in magnitude 
daily, cannot make for a healthy atmosphere in which 
the artistic cinema can thrive, excepting in isolated 

Then, perhaps, that changing chimera, the Public, 
is not ready for the better and best motion pictures. 
Many arguments, reinforced by irrefutable box-office 
data, can be summoned to support this contention. 
History proves, however, that the public was rarely, 
if ever, ready to accept any change and that means 
were always necessary to convince it. 

This is the function which the Film Arts Guild and 
other groups throughout the country have assumed, 
feeling, as they do, that the cinema has an art-destiny 
of its own, unrelated to any other existing art, and 
that a little theatre movement of the cinema is essen- 
tial at this time to keep the flame of its artistic am- 

bitions burning brightly and shielded from the mias- 
m.atic vapors of commercial animosities. 

The film-art movement, in brief, has dedicated it- 
self to the task of reviving and keeping alive the 
classics of the cinema, as well as those films which 
may be noteworthy for the best elements which con- 
tribute towards the greatness of a motion picture, 
such as theme, characterization, composition or cam- 
eracraft. Literature, music and the other arts have 
their classics and there is no reason why the great 
achievements of the screen should not be preser\ed 
und handed down through tiie generations. 

The modus operandi of this idea is internatior nl 
in scope as its aim is to establish repertory cinema- 
theatres in communities throughout the world whe-e 
the films worth commemorating and preserving a'e 
to be presented. This form of repertoire is naturally 
not to be confined to American films, but there is 
to be an interchange of films representative of the 
best of each countrv. Art has no frontiers and re- 
cent experiences with films here indicate that Europe 
and perhaps other continents can contribute motion 
pictures which attest to the highest qualities of cinema 

WITH this plan in mind, the Film Arts Guild en- 
gaged the Cameo Theatre, a small house seating 
540 people. During the last seven months, three of 
which included an abnormally hot summer (and the 
Cameo has no cooling plant), it has demonstrated the 
complete success of the screen-repertoire idea. It 
has played many box-office failures during this time 
and has in nearly all cases won for them belated 
recognition and a new public, the latter in many cases 
consisting of screen-sceptics, people who rarely at- 
tend motion pictures or who have a low opinion of 
them caused by a few sad experiences witli stereo- 
typed films of the usual order. 

On several occasions, the Film Arts Guild has 
presented European films, which had fought unsuc- 
cessfully for recognition through the regular distribu- 
tion ciiannels. and tliese were invariably acclaimed by 
audiences at the Cameo. 

On the basis of our regular experience witli tiiis 
theatre, I see no reason why, backed by an organised 
effort on the part of the industry, similar repertoire 
programs cannot be introduced in communities 
throughout the country. Of course, it is too optimis- 

Sfpte III In- '-October, \iiieterii l'jitiit\-six 

tic at this stage to expect the old-line exhibitors to 
support this idea in their presentations. His reluc- 
tance, liowever, is natural and springs from the com- 
mercial wariness with which he must watch his com- 
petitor's moves and movies. 

FOR that reason, the only present hope, as I can 
see it, for a widespread establishment of the film- 
art movement is in co-operation with the little theatre 
movement of the drama. There exist to-day a thou- 
sand individual producing groups, ranging from ama- 
teur clubs to the true type of institutional playhouse. 
Many of these groups, dedicated to the better aspects 
of the drama, and wielding an important cultural 
influence in their communities, could be interested in 
presenting, at least, once a month, special programs 
of films, many of which might have met with unde- 
served failure or little success when first shown in 
those same communities. 

As a matter of fact, just now there is a movement 
on foot to weld the interests of these thousand dra- 
matic units into a huge communal group and adminis- 
ter their financial and dramatic needs through a clear- 
ing house. If that condition is consummated, it will 
be relatively easier for a film-art movement to offer its 
plan for embodying a cinema auxiliary in the program 
of these various dramatic units. 

The local exhibitor would not suffer from such 
presentations. In fact, they would benefit him. They 
would focus more attention on motion pictures in 
his locale among those persons who have hitherto had 
small interest in them. They would enable him to 
enlist the attention of such groups in bis community 
when he presents a current film of special artistic 
merit. Finally, he would always be at liberty to pre- 
sent repertoire programs of his own arrangement 
modeled along film-art lines and he would be certain 
of support for such showings both on the part of this 
new-found public and of the press. 

The producer would also benefit from such a plan. 
First, it would place a new value upon many of his 
films which now enjoy a limited circulation and in 
many instances are deadwood, or rather, dead cellu- 
loid. Second, it would give a definite impulse, which 
can be regulated on a schedule, to revivals and re- 
issues, for exhibitors would gradually become edu- 
cited to the advantages of playing a good old film 
rather than a bad new one Third, it would enable 
him to ease up on his rush-order, multi-film policy of 
production and permit him to spend more time on 
the making of pictures with the result that better 
f.ims would probably become the rule rather than the 
exception. Fourth, by emphasizing and achieving 
these points in his general organization of producing 
and distributing, it would enable him to build up a 
list of films which would have a big re-sale value over 

a greater number of years, similar to a publisher list 
of books, which incUule Shakespeare, Stevenson, Ib- 
sen, Shaw, Mark Twain, Dickens and others. 

I believe that the motion picture industry suffers 
from overproduction. Tiiat is its weak spot and is 
proving destructive to its best interests. Eight hun- 
tlretl films, it is said, are scheduled to be produced 
during the next twelve months. Each represents finan- 
cial hopes. All are primarily aimed at the box office. 
Of this great number of releases, how many will 
survive six months — how many a year? Can you for 
a moment visualize the great effort which will be nec- 
essary in their making? Most of these films will re- 
semble their predecessors quite suspiciously. The 
same type of players will be featured in the same type 
of roles. In many instances, the plays will be made 
to fit their personalities — manufactured personalities 
in certain cases. And all this for whom? P'or a pub- 
lic which has gotten the habit of accepting them 
through extensive and expensive publicity campaigns. 

NO one can deny that this condition exists. But one 
must also admit that some producers are begin- 
ning to sense a movement on the part of that slow- 
turning worm, the movie-audience. The remedy, as 
I see it, lies in a more deliberate and intelligent form 
of film-production, relieved and heightened by regu- 
lar revivals and re-issues of old films of merit and 
leavening the whole with imported motion pictures of 
sj)ecial merit. This may relax the tension and errors 
of overproduction and lay the foundation for meth- 
ods and policies which may be more conducive to the 
creation of films which will have longer runs and 
longer lives and be carried on for presentations 
through generations. 

Under such auspices, the conditions also become 
propitious for the birth of the truly great cine-master- 
piece which will be able to vie with the great creations 
of the other arts and prove to the world that the 
silver screen can body forth an art as appealing as 
the others in its universal note of feeling and ex- 

There is no doubt that this is the age of celluloid. 
We are only standing on the threshold of unforseen 
developments in this momentous field. It remains for 
those far-seeing executives at the helm of the industry 
to give a few of their subordinates sufficient rein to 
strike out in new directions. Many of them are irked 
with the methods in vogue. Ideas of transcendent 
value to films are pent up waiting for release. Be- 
lieving this to be true, I offer the film-art movement 
as an instrument to achieve a modicum of this pro- 
gress. I feel with the industry behind it, it can ac- 
complish much of artistic and practical worth. 

National Board of Review Magazine 

Exceptional Photoplays 

Selected by the Committee on Exceptional Photoplays 
Secretary and Department Editor. ALFRED B. KUTTNER 

Beau Geste 

Directed by Herbert Bnnun 

Ph'itographed by J. Roy Hunt 

The Cast 

Michael "Beau" Geste Ronald Cohnun 

Ditjby Geste A'<// Hamilton 

John Geste Ralfih Forbes 

Lady Brandon ^I'ce Joyce 

Isabel Mary Brian 

Sergeant Lejaune Noah Beery 

Major de Beaujolais Norman Trevor 

Boldini IVilliam Powell 

Maris George Rigas 

Schivartz Bernard Siegel 

Hank J'ictor McLatitan 

Buddy Donald Stuart 

St. Andre Paul McAllister 

WHEN John Russell undertook to make the 
screen adaptation of Percival C. Wren's ab- 
sorbing story, he wisely put least emphasis 
upon the diamond theft mystery side of the plot. To 
do otherwise would have made the picture like too 
many others. By this time, all experienced movie 
goers always know who has the precious stones and 
tiiey know that the author knows it too. But 
they don't know whose haunted hands stood up all 
the dead men in a certain fort and they will pay to 
ct.'me and see. 

Even in the book the diamond mystery was the 
most banal part even though there were the usual 
number of false clews and likely suspects. Mr. Wren 
has no very pronounced literary talent and carries 
you along only when he gets on a military theme like 
the French Foreign Legion where he knows exactly 
what he is talking about. The mystery of the fort 
far exceeds the mystery of the diamond in interest. 

Even more so on the screen the entire vitality of 
the picture lies in these same military matters. At 
other times it is almost commonplace with the spec- 
tator soon longing to get back to the spell of that 
desert scene. The gruesome riddle of the lone desert 
fort whose garrison, though slain to the last man 
by the relentless Arabs, still kept its death watch on 
the ramparts provides a suspense which the camera 
makes even more thrilling than the written word. 

As a mystery prologue the opening scene. has few 
rivals. A column of the French Foreign Legion go- 
ing to the relief of a besieged outpost in the Sahara 
arrives at the fort only to discover every man stand- 
ing erect but dead at his post. The commandant has 

apparently been stabbed by one of his own soldiers. 
These two bodies then disappear and the fort is 
destroyed by a sudden conflagration. Here obvi- 
ously, are matters of mystery that need to be ex- 

The explanation goes far afield. It begins in the 
early childhood of three of the young Legionaires 
and runs into the elaborate reason tor their join- 
ing the Legion which is connected with the missing 
diamond. Here there is a letdown of the picture 
both in theme and in execution. But that was in- 
evitable. The pace of the prologue was too killing 
to maintain. 

But the interest picks up as soon as the three 
brothers join the Legion. Here, the author is on 
firm ground. The iron discipline and the savage 
code of the Legion are portrayed in masterly fashion. 
Sergeant Lejaune, in his fiendish savagery, dominates 
these scenes and leaves an indelible impression of 
what happens when a brutish tyrant is given the 
power of life and death over defenceless subordi- 

Yet he is a curious figure, this fellow Lejaune. A 
new type, for he is really both villain and hero. What 
a brute but what a soldier! You can both hiss and 
cheer him. There is food for thought here. Hasn't 
the screen been overdoing the villainy of its villains 
and the virtues of its saints? The way this charac- 
ter has been received by movie audiences might well 
make one think so. 

Now we are back to the fort and the explanation 
of its dead men's mystery. As the fort has been 
subjected to repeated Arab attacks with the chance 
of relief getting ever slimmer, Lejaune was beginning 
to run shorter and shorter of men, that is, live ones. 
A sardonic idea occurred to him. Why not stand 
up the dead men at the ramparts for the Arabs to 
see so that they would think the garrison still intact? 
It is a new military system but with diminishing re- 
turns as they do diminish until only Lejaune and two 
of the Geste brothers remain. And then of all things 
the diamond pops up to help finish Lejaune who is 
not very well up on missing jewel mystery movies 
and really thinks that the dving Beau Geste has the 
diamond on him. Meanwhile the military relief col- 
umn is approaching and the end of the mystery is in 
sight after the third Geste brother performs a certain 
rite which goes back to a pact which the three 
brothers made in their childhood. 

Enough has already been said about the character 

Sf ptfnihf r -October . Nineteen TtL'enty-six 

of Lejaune to indicate that the actor involved must 
have done good work. Noah Beery does even better. 
His work dominates the picture and to our mind puts 
him into tlie same company with a man hke Emil 
Jannings. His performance is just right, beautifully 
balanced between the fiendish and the heroic. Nec- 
essarily he outplays Beau Geste and his brothers 
though they, led by Ronald Colman in the title role, 
are a happy combination. Quite asiiie from anytiiing 
else what three fine specimens of young manhood they 
are, especially Ralph Forbes, a mere novice on tlie 
I Herbert Brenon also showed his discrimination in 
choosing William Powell to act the part of Boldini, 
the minor villain. Powell's makeup and manner, his 
constant physical simulation of the type of military 
riffraff he represents are masterly. 

Herbert Bernon liimself remains. He lias received 
many congratulations recently upon liaving gotten 
away from the more sugary type of play like ./ Kiss 
for CbidcrcUa and others. But it would really be 
more just to congratulate liim upon being able to 
direct such higlily divergent pictures as these and 
Bcaii Gcsti'. That indicates a range in directing abil- 
ity which may well be envied. 

(From the novel by Perchcil C. Jf'ren. Adapted b\ 
John Russell. Scenario by Paul Schofield. Produced 
and distributed by Paramount.) 

Secrets of the Soul 

Directed by G. IV. Pabst 

Photogrnphed by Guido Seebart 

The Cast 

The Husband Jf'erner Krauss 

The Wife Ruth U'eyher 

The Mother Ilka Gruning 

The Cousin Jack Trevor 

The Doctor Paieel Laivlow 

FREUD has at last come to the screen with an 
adequate exposition through the medium of a 
dramatic rendering. Secrets of the Soul, the 
film made by UFA of Germany in collaboration with 
Dr. Hans Sachs and the late Dr. Karl Abraham, 
noted psychoanalysts and confreres of Dr. Freud, is 
propaganda, in a way, for the Freudian theory and 
treatment, but over and beyond this it is a surprising 
cinema, strikingly dramatic at moments, and a pio- 
neer contribution to the art. Again, it is among the 
finest instances in motion pictures of a blending of 
the scientific and the instructional with what is pri- 
marily entertainment. 

It is not the aim of this review to enter into any 
discussion of the Freudian implications of the film, 
its authenticity in this respect or its success as propa- 
ganda, other than to state that to the lay mind this 
picturization is vastly more provocativ-e and down- 

tight informative and clarifying than any row of 
books on a shelf could he. For it is a triumph of the 
pictorial, recorded in a train of vivid visual impres- 
sions, sometimes unforgettable and perhaps, to those 
\(ho dislike to remember their dreams, somewhat 
painful and disturbing. Here we are concerned pure- 
ly with its merits as a work of motion picture art, 
and there the film can stand on its own legs and com- 
mand attention in the rank of merit. 

Cinegraphically it is a projection of the medium 
on the plane of Calitjari, Shattered, The Last Paucjh 
and Variety. That is, it is said with pictures, it con- 
tains magnificent acting, it has the reality of the real 
world and it successfully crosses the bridge into that 
lealm of the disturbed imagination where sanity and 
insanity are relative matters. As in Caligari where 
the phantasmagoria of sleep and mental aberration 
lie on the screen like an unquiet glitter breaking into 
mad whorls, so in this film is a dream quality related 
to the normal awake world, but troublous and convex 
and setting up of a conflict between conscious actions 
and unconscious and half mad motives. And as in 
Shattered and The Past I.aucjh, the profoundly psy- 
chological is probed from the minds of baffled and dis- 
traught cliaracters and held by a knife-like camera 
for the audience to view, in Secrets of the Soul the 
hidden and portentious is flicked to the surface, par- 
ticle by particle, and assembled in a definite and tragic 
pattern most dramatic in its effect and revealing of 
the further reaches which the scientific delving of our 
modern world into the causes of men's actions has 
given to the province of drama itself. And as in 
J ariety the camera receives ne^w and tremendous use 
in the choice, movement and arrangement of pictures, 
so in the present film the image structure — the live, 
articulated frame of visual content — is vibrant, leap- 
ing and concentrated in its energy and purpose. 

The narration cuts through a story of fear, defeat, 
I'nd mental anguish on the part of a husband who is 
unconsciously jealous of his wife's cousin and his best 
friend for no other reason than that a conflict growing 
out of the childhood associations of all three has been 
set at work in his innermost psychic self. This drives 
him to a mad desire to kill his wife, whom he dearly 
loves and who loves him, and only the fact that his 
revulsion at this half-revealed thought of murder 
gives him a knife phobia which makes him afraid to 
see or touch a knife, saves him from committing the 
act. The true cause of his dilemma is revealed to 
him through psycho-analysis, a cure is worked, and 
ihe happiness of his marriage is restored, resulting in 
his wife's having the child they both want and whose 
birth was prevented by the psychological failure 
cf the husband. In the unfolding of this story the 
dream-experience of the patient is ingeniously de- 
picted by the camera with startling reproduction of 
the dream state, and the unique ability of motion pic- 

National Board of Ri;\ie\v Magazine 

tures to do this sort ot tiling is once more impressively 

Werner Kraus, in playing the husband, again bears 
uitness to his outstanding ability as a screen actor, 
an ability which sets him beside but two others — 
Chaplin and Kmil Tannings. His grasp ot the human 
emotit)ns, his sympathy, and his exact understanding 
of what he must do to create the portrait wanted with 
his supreme gift of naturalistic pantomine afford a 
remarkable characterization. Ruth Weyher as the 
wife brings an unknown name to the attention ol 
picture goers in this country aiul re\eals an actress ot 
tine talent. All the others of the cast play their parts 
with that meticulous attention to detail and that 
faithfulness to nature which the finest German films 
invariably show. 

Secrets of the Soul is another stride forward — a 
step in motion pictures to be studied by producers 
and audiences alike. 

(Sceriiiri'j hy Colin Ross and Hans Neu'/iiann. 

Produced hv the Scientific Department of 

U. F. A. Distributed by U. F. A.) 

The Scarlet Letter 

Directed by J ictor Scastrom 

Photographed hy Henrik Sartov 

The Cast 

Hester Prynne Lillian Gish 

Reverend Dimmesdale Lars Hanson 

Roger Prynne Henry B. If'althall 

Giles Karl Dane 

Governor William H. Tooker 

Mistress Hihhens Marcelle Corday 

Jailer Fred Herzoij 

Beadle Jules Coivles 

Patience Mary Hawes 

Pearl Joyce Coad 

French Sea Captain lames A. Marcus 

LITTLE did the shy, retiring, Nathaniel Haw- 
thorne, suspect, probably, that what was des- 
tined to be his most popular novel was at the 
same time an excellent movie script. Yet that is just 
what The Scarlet Letter, with its preoccupation 
with the scenarioist's favorite sin, its prolonged re- 
pentance for that sin, and its strong note of atone- 
ment undoubtedly is. The scenario editor might 
perhaps be inclined to criticise Hawthorne for hav- 
ing striven to be too subtle at times, especially in try- 
ing to show what was happening inside of Hester 
Prynne's conscience instead of letting her look at a 
lily with a sad expression on her face so that every- 
body would be able to tell right away that she was 
sorry. But he would hasten to congratulate him upon 
the title. "Not so bad, Mr. Hawthorne, though I sup- 
pose you got the idea from our super-feature. The 
Scarlet Sin. You'd have to go some to beat that!" 
Why was so good a script not accepted long ago? 

Lp to quite recently the answer would lune been 
that the scrijn though good was a little too strong. 
It dealt with a married woman, who had a child that 
was not lier luisband's anil it ended unhappily. It 
would hanlly tio as it was and there seemed to be 
no way of "fixing'" it without taking all the punch 
out ot Hester Prynne's punishment of having to wear 
the tell-tale letter. Thus the people who used to 
ciioose our pictures for us arrived at the interesting 
position of being against the tilming of an American 
classic which all high school children were encour- 
aged to read for fear that it would not be good for 
tliese same children to see. 

And so The Scarlet Letter stands out today in the 
first place as an indication of the screen's greater 
freedom. I'or this version does not shirk the facts 
and ends without distributing happiness souvenirs. 
In acting antl directing it is notable and as a picture 
of New England modes and manners it is a valuable 
addition to what Messrs. Mencken and Nathan like 
to call "Americana." 

Something has been said about Victor Seastrom 
always bringing the note of the Swedish folktale into 
his pictures and of his being a fine musician on the 
order of the home-made pianist who executes all 
pieces with one finger. But just what is the objec- 
tion to an occasional folktale note in motion pictures? 
Has not this slower, unjazzed pace and this dwelling 
on the communal imagination of peoples added a 
great deal to the poetry and variety of pictures? 
Scandinavian directors have specialized in this re- 
spect, it is true, but why should they acclimatize 
themselves the moment they come over here by put- 
ting a mad automobile chase into every one of their 

Besides, Hawthorne was a folktale teller in his 
own right who dwelt lovingly upon these aspects of 
New England life and found there a precious charm 
of which we have almost lost sight amid the tire- 
somely repeated tirades against Puritanism of our 
modern critics. Under these circumstances the 
choice of Victor Seastrom as the director of The 
Scarlet Letter may be said to have been partlcularlv 

There is rather more meat in the criticism that 
Hawthorne was intent upon showing the inner con- 
flict of his characters whereas the picture external- 
izes these and puts the emphasis upon what they suf- 
fered at the hands of their fellow citizens, especially 
In the case of Hester Prynne. Hawthorne's methoil 
was the truer for we may be sure that Hester and the 
Rev. Dimmesdale, brought up as they were, wou'il 
have suffered for their transgression quite as much 
whether persecuted from without or not. 

It would be tempting to make a comparison be- 
tween this picture and the picture version of iray 
Doivn East. That, though a melodrama to begin with,. 

Septenthcr-Octrtber, \infti'fii Tjitiity-six 

is also by way of being an American folktale. Yet it 
would be most surprising; if it lingered longer in the 
memory of discriminating picture gt)ers despite its 
sensational action ami the so violently hyscerlcal in- 
terpretation of Lillian (iish. It was so much more a 
mere mo\-ie and at bottom a much more hackneyed 
one. There is evieiently a difference in folktales as 
well as in their pictorial treatment. 

The acting in Tin- Snirlfl Letter shows every sign 
(.f having been in the mood indicated by the director. 
Miss Gish's Interpretation presents almost an an- 
tithesis of her pre\-ious work. It was a pleasure to 
notice iier freedom from certain mannerisms. She 
did not exploit old gestuix's or pause too long for 
pathetic effects. Instead she went about her business 
ciuietly and surely, showing not a little of tlie serenity 
arid strength which was a part of Hester's character. 

Lars Hanson, a newcomer to our shores, is certain- 
ly a find. Here at last is an actor again who can act 
tlirough his eyes without just "making eyes" or mere- 
ly twitching his eye-brows. They are extraordinarily 
bright and piercing and are strangely like those of 
the younger Henry B. Walthall when he could use 
his eyes to hold back most of the L'nion army in 
The Birth of a Xatinii. Mr. Hanson's interpretation 
of the Rev. Dimmesdale is sympathetic and believable 
and does not make him too much of a martyr even 
on the trying scaffold scene. Mr. Walthall, unfor- 
tunatelv, was given a highlv melodramtic conception 
ol Roger Prynne by the adaper \\ho seems to have 
misread this character somewhat along the lines of 
tlie silent villain type. Hidden behind a scraggly 
beard he undoubtedly did his best and Mr. Walthall 
never does badly. 

(From the novel by Nathaniel Hazcthorne. 
Adapted by Frances Marion. Produced and Directed 
by Aletro-Goldzi-yn-Mayer. ) 

Alaskan Adventures 

Photographed by H'ylie Kelley 

4LASKAS Adventures may well he described as 
a super-scenic, well meriting the attention of 
all motion picture enthusiasts. Many surely 
will derive more entertainment from it than from 
half a dozen much advertised feature pictures. To 
commune with nature, to feel the grandeur of land- 
scape, the sublimity of lofty mountain ranges and 
the vastness of sea and sky has always been consid- 
ered one of the rarest of pleasures. 

This picture is a complete camera record of an 
expedition undertaken by Captain Jack Robertson 
and Arthur H. Young to visit the least known and 
sometimes hitherto unexplored regions of Alaska. 
Making their way on foot, by boat or raft and with 
dog team sleds, they covered an amazingly varied ter- 
litory. With the camera always in action they suc- 
ceeded in getting a wonderful record of the natural 
wonders of Alaska, of the teeming fish, bird and 

xnimal life of these virgin regions as well as a human 
record of the various tribes of Eskimos whicii they 

Aside from the fascination of this opulent pano- 
lama, tlie picture also carries one along dramatically, 
by the thrill of adventure, the obvious risks fre(]uent- 
ly faced by the two explorers, and the solicitude one 
inevitably feel for their success in overcoming the 
obstacles ot turbulent rivers, threatening storms, dan- 
gerous animals — all the hostile forces to which man 
In his primitive state is exposed. The views and epi- 
sodes shown are, of course, selected and arranged to 
some extent, but tiie disturbing sense of the camera 
man's presence as an invisible third member of the 
expedition never obtrudes upon our attention, so that 
tiie illusion is skillfully preserved. 

The high spots of the picture are the break-up of 
tiie winter ice in the Yukon river, the views of Mt. 
Katmai and the Valley of Ten Thousand Smokes, 
the pictures of the midnight sun, and the birth of an 
iceberg. Alaskan Adventures has set a mark for 
scenic pictures which will not soon be surpassed. 

{Pictorial experiences of Capl. Jack Robertson and 
Arthur H. Younq. Produced and distributed by 
Pat he.) 

Another Foreign Actor Comes 
to America 

piMIL JANNINGS of Fariety fame, arrived re- 
-'—>■ cently on these shores and will remain in New 
'i ork a few weeks to discuss production plans. Jan- 
iiings says he has no preference as to the locale of his 
next story, whether American or Continental. What 
he hopes to find is a part with sincerity, naturalness 
and humanity possible in the characterization. The 
American adventure Is expected to result in three 
Janning pictures. 

Jannings looks little like the popular conception of 
a motion picture star. He has almost nothing of the 
stage manner in conversation. He is solidly built, of 
good height, slightly bald, and almost diffident. Or- 
dinarily his face might well be described as placid. It 
is not until lie begins talking on a subject which rouses 
him emotionally that his features become mobile and 

By the German Government he was commissioned 
as something of an Envoy Extraordinary and charged 
with the duty of promoting friendly relations. Before 
his departure German theatres made a specialty of 
reviving films in which he iiad played. And when he 
left, thousands of German picture fans turned out to 
wish him well. 

He will undoubtedly find his German farewell fol- 
lowed by a hearty welcome in .America for the fine 
characterizations in his foreign produced pictures 
shown here, as The Last Laugh, The Loves of 
Pharaoh and Variety, have received high praise from 
critic and public. 


National Board of Review Magazine 

An Interesting 

IN his recent pamphlet. Forces Molding 
and Miiddlmd the Movies, Mr. 
George P. McCahe. a lawyer residing in 
Washington, attempts an impartial ap- 
praisal of the movements and organiza- 
tions which have been established either 
to the benefit or the detriment of motion 
pictures and their proper development in 

Dealing at length with the organization 
and work of the National Roard of Re- 
view, he rises above the kind of criticism 
that has often been directed at that body 
by narrow proponents of censorship, re- 
formers looking for publicity, and unin- 
formed critics in general, to search dili- 
gently for the facts. These he musters in 
part into what may be called a testimonial 
to the Board's good faith, honesty and 
purpose. Like all fair critics, he goes on 
to point out certain discrepancies in its 
work which to him appear to exist. Mr. 
McCabe is the only outside critic we know 
who has taken the pains to examine at 
first hand the Board's affairs, study Its 
philosophy and ascertain what It is trying 
to do and how. before rushing into print 
with all the handicaps to a fair statement 
of prejudice or lack of knowledge or both. 
We cannot share all of his convictions re- 
garding features in the Board's work he 
thinks should be remedied, but we per- 
ceive valuable suggestions In much that he 
says, all of which are conveyed in an able 
and businesslike manner and in a vein that 
is pleasant for its moderate If candid tone. 

Subtitling his pamphlet "A paper on cen- 
sorship of motion pictures in the United 
States with suggestions for some regu- 
latorv control laws." Mr. McCabe na- 
turally confines his remarks largely to an 
examination of legislation which has been 
enacted in the form of State and Munici- 
pal censorship of films to effect the cure 
of evils alleged to exist in them, and a 
discussion of just how effective censorship 
has been. 

T AST Winter and Spring Mr. Mc- 
'-^ Cabe made a craeful survev of the 
records of the various state censor boards 
and Interviewed many of their members. 
He sums up a comparison of their work 
by pointing out the already established 
wide variance in their actions on the same 
pictures coming before them, and states, 
"The fault is not with those censoring the 
pictures but with the theory and detail 
of the previous laws and the impossibility 
of uniform co-action of censors enforcing 
Individual Ideas of the application of the 
terms of the law-." A grave criticism both 
of the institution of legal censorship and 
its practice, coming as it does from a 
lav\Ter speaking from the facts In the case. 
Turning to those bodies that are seek- 
ing in an extra-legal way to benefit motion 
pictures, and to which he extended a per- 
sonal examination, Mr. McCabe recogniz- 

es at once that The National Board is not 
a restrictive organization but a volunteer 
body banded together to help and encour- 
age the proper growth of the films, along 
lines of a liberal, constructive, program. 
Here his conclusions afford a complete 
controverting of much rumor and many 
statements made hitherto of inaccurate or 
malicious import regarding the Board and 
its work. 

Of paramount Importance in this con- 
nection are the following conclusions 
(juoted from his pamphlet: 

1. "The integrity of the work of the 
Board has been questioned because the ex- 
pense of Its work is paid by the Industry 
upon whose product it passes. This is not 
a valid objection. The State Censor 
Boards collect fees for censoring pictures. 
The money thus collected is paid by the 
industry, and while it goes into the State 
Treasury. Indirectly it is used to pay the 
salaries and expenses of the censors. No 
one would maintain that this fact causes 
the censors to be lax in deleting objec- 
tionable scenes from the films . . . The 
argument, whether against the National 
Board of Review or against the State 
Censor Board, is without merit and merely 
silly. In each case the real question is 
whether the w-ork is honest and compe- 
tent and not who defrays the expense. " 

2. "It appears to the writer, after a 
careful investigation, that the Board in 
passing pictures and in recommending 
changes in films is honest, is not coerced 
by the Industry, or by its own paid em- 
ployes, and that the recommendations of 
the Board are uniformly followed by the 
producers, allowing for a few celebrated 
exceptions where some copies of certain 
questionable films were, through inad- 
vertence it is said, placed on exhibition 
without making the changes recommended 
by the National Board of Review." 

3. "Another argument often advanced 
against the Board of Review is that it is 
not national In scope, but a New York 
Institution which naturallv passes what the 
city believes should be shown in pictures, 
and does not reflect the sentiment of the 
country as a whole. This brings us back 
to the old question 'Who is a New York- 
er?' Nine times out of ten he is one 
who w^as born and raised and got his ex- 
periences elsewhere, and as a matter of 
fact the present membership of the Board 
bears out the answer, as the personnel in- 
cludes not only members from all walks 
of life but all parts of the United States." 

4. "It seems an uncontroverted fact 
that from 98 to 100 per cent of all the 
entertainment pictures produced in .Amer- 
ica and all Imported amusement films are 
passed upon by the Board." 

On the side of criticism, Mr. McCabe 
believes that the Board Is not successful 
in reaching a large enough portion of the 
motion picture audience with its informa- 
tion indicating to what type of audience 
the different films are suited: that the 
Board, having undertaken to perform a 
public service, does not make an adequate 
report to the public as to how it works. 

the obstacles it is meeting, and what it is 
accomplishing; that the Board, while or- 
iginally made up of public-spirited citizens 
selected by a responsible public agency, 
has now become a self-perpetuating body 
not responsible or responsive to the 

It should be pointed out that whatever 
degree of validitv holds in the tirst two 
of the above criticisms Is owing to the fact 
that the Board, with its slender financial 
resources for a wider rendering of Its 
services and dissemination of detailed in- 
formation concerning its work, is under 
a heavy handicap and can only accomplish 
these through the development of its affilia- 
tions, sectionally and numerically. A full 
survey of Its affiliated field, such as Mr. 
McCabe, in justice to him, could not very 
well be expected to make, would disclose 
a far-reaching and pretty well organized 
svstem of getting the Board's work over 
to that part of the public in the best posi- 
tion to make use of its service. The com- 
munity groups, operating on the basis of in- 
formation, weekly and monthly, furnished 
by the Board, and cooperating with local 
exhibitors, constitute a growing instru- 
ment for performing the service that Mr. 
McCabe has in mind. 

REGARDING his third criticism, sharp 
difference of opinion must be expressed. 
The responsible public agencj' alluded to as 
having selected the Board's original mem- 
bers was the People's Institute of New 
York Clt>-, acting at the time in response 
to what was felt to be a public need. Like 
all the organizations fostered by the Peo- 
ple's Institute, when at the stage of suffi- 
ciently strong development, the Board be- 
came independent and Itself a responsible 
public agency. Such it is today, acting in 
behalf of what is felt to have become a de- 
sirable public work. It is self-perpetuat- 
ing, in the sense that it elects its own mem- 
bers, only to the extent that, being an or- 
ganization with well-defined objects and 
policies, it feels that It not only has the 
right, but that In justice to Its work it 
should exercise a final voice in enlisting 
the service of those whose enthusiasm, ex- 
perience, ability, and general usefulness 
are most compatible to the Interest and 
purpose of that work. A public library 
or a university may be conducted on the 
same principal, and in the same sense of 
being a self-perpetuating enterprise, with- 
out incurring criticism for being a private, 
privileged institution. It must at all 
times, however, be responsible to the best 
public mind and open to the participation 
of the public. This the National Board 
certainly is. Its whole review group is 
composed of private citizens who have vol- 
unteered service and proved their qualifi- 
cations. Its general committee Is drawn 
from this group as well as its members 
being delegated and proposed for service 
bv organizations in sympathy with the 
Board's work. Its executive Committee 
is drawn from the general committee. Its 
Better Films National Council is com- 
posed of people of prominence experienced 

iieptember-Dctoher, yiineteen Tuenly-six 


in the field activity connected with the bet- 
ter films movement who live in various 
cities throuphout the country. Many of 
these have been delegated by their local 
group who have affiliated with the parent 
bodv, and have been elected on the basis 
of that selection. Indeed, there is a con- 
stant eflfort to enlist the interest and par- 
ticipation of earnest and useful people and 
to extend in every proper way the mem- 
bership of the otfianizatlon on a national 
and voluntary basis. Beca\isc of the repre- 
sentation of these people, as well as of Its 
official connections with various city regu- 
latorv officers governing public amuse- 
ments, the Board must always feel its re- 
sponsibility to the public and be responsive 
to public thought within the scope of its 
work as laid down by Its formulated poli- 
cies and philosophy. The fact that it has 
always given ear to the public, especially 
the motion picture attending part of It. 
and sought to reflect, out of painstaking re- 
search, the best qualified public opinion, is 
the cause of much criticism that It has in- 
curred from sources bespeaking responsl- 
bilitv to and concern for the public but 
least in touch with the people and holding 
biased, arbitrary and uninformed opinions 
In view of the facts. 

. A further finding of Mr. McCabe's to 
tlie effect that a considerable number of 
pictures are "coarse and suggestive . . . 
if not actually indecent and some few pic- 
tures are frankly filthy" might also be 
criticised as a case of over-statement. The 
motion picture output from year to year 
is not unlike a stream which purifies itself 
as it flows along. Some sediment will, of 
course, be cast up on the shore but after 
all, such a stream is a prototype of the 
entire complex of human emotions In which 
also there are murky spots. 

HOWEVER, the greatest departure of 
opinion that may be taken from Mr. 
McCabe's remarks Is in that portion of his 
pamphlet in which he suggests In the form 
of legislation a panacea for all evils alleged 
or otherwise pertaining to motion pictures. 
Advocating a law which, while permitting 
the shipment and showing of all films,, de- 
fines what films are contraband in the 
mails and commerce, interstate and for- 
eign, using the descriptive terms of Sec- 
tion 245 of the Penal Code, further pro- 
viding that contraband films as defined 
shall be seized and destroyed and their 
senders prosecuted and fined or imprisoned 
or both, Mr. McCabe. in order to deter- 
mine which films were contraband, would 
apparently set up a system of govern- 
mental inspection In the film producing 
plants or entrust such a law to some 
"responsible arm of the government for 

It is recalled that Mr. McCabe in 
speaking of censorship says, "No, the 
trouble is not with the censors but with 
the laws". Yet these existing laws all 
forbid specifically in one form or another 
the showing of any obscene, lewd or las- 
civious motion picture — the definitive 
words of Section 245 of the Penal Code 

which Mr. McCabe later advocates as 
desirable for Incorporation in his theoretic 
regulatory measure. Would it be possible 
to arrive at wise, just and consistent action 
any more readily under the law which 
he suggests, through governmental in- 
spection or a responsible arm of the gov- 
ernment or both, than under the present 
censorship laws as exercised by the cen- 
sors? It is this very stumbling over the 
interpretation of the words of the Penal 
Code when applied to motion pictures that 
makes the work of the censors so con- 
fusing, illogical. Ineffectual and oftentimes 
ludicrous, a fact which Mr. McCabe rec- 
ognizes elsewhere in his survey. 

riJUT the biggest fly In his ointment is 
'— ' when Mr. McCabe, is advocating that 
such films as his law would make con- 
traband should be seized and destroyed 
remarks, "just as contraband food is 
seized and destroyed". The Introduction 
into his argument of the pure food laws 
and especially the Meat Packers Law, and 
the attempted analogy between what is 
pure In food and what Is pure in pictures 
strikes fundamentally at its logic. Im- 
purity In food can be detected with cer- 
tainty. If not by touch and smell, then 
through the microscope and the chemical 
test. But impurity in pictures — where Is 
the glass to separate, beyond peradventure 
of doubt, purity from the content or base- 
ness from the meaning, or break the Idea 
into particles of good and bad? And what 
nose and what hand can pinch and sniff 
the film in order to conclude for the whole 
world what there is photographed upon It 
that Is undeniably beneficial and positively 
harmful? Can a pure food law detect 
what there is to purify in any art? Are the 
standards of the inspector and the chemist 
those of culture and aesthetics? 

It is like weighing the human mind and 
a piece of mutton with the same scales. 
Every motion picture, whether one think it 
good or bad, is a product of the mind. The 
nearest you can get is your individual 
opinion of it. It seems unfortunate that 
after so clear a survey of what has been 
done In the way of bothersome regulation 
or of constructive service regarding motion 
pictures, Mr. McCabe should fall upon an 
argument that has been used from the be- 
ginning by individuals merely concerned 
with reforming the movies by getting cen- 
sorship on the books, and who have ad- 
vanced It glibly In reform campaigns, in 
publicity-seeking Interviews and statements 
made before the politicians. 

Up to the moment Mr. McCabe ad- 
vances his solution, his pamphlet is a level- 
headed and informative contribution to a 
study of the subject. 

Forces M'jldinij an/I Muddlinii the 
Movies, by Geo. P. McCabe. Esq., Wash- 
ington, D. C, 1926. Privately printed. 


I lAVE you read "Beau Geste", "l^ord 

^ Jim", "The Homemaker ', "Pad- 
locked", "The Lost Lady". "So Big", and 
have you seen them in the motion pic- 
tures? These are a few among the four 
hundred photoplays listed in the Selected 
Hook-Films Catalog, compiled for Motion 
Picture Book Week, Noveinber 7th to 
l.?th, 1926. There arc other old favorite 
tales as the "The Hoosier Schoolmaster", 
"Scrooge", "The Talisman", "The Man 
Without a Country", brought again to 
memory in the films. Perhaps you have 
seen these pictures but, like the re-reading 
of an old book, you would like to re-see 
them, but how to know if thev are still 
available, that may be the doubt. But it 
need be no longer, the Selected Book- 
I'ilms lists of the last few years have been 
revised and brought up-to-date so that in 
the 1926 list will be found many old and 
many new selected book-films now in 

The use of this list for the observance 
of Motion Picture Book Week with co- 
operation between the better films com- 
mittees, libraries, exhibitors, schools and 
book stores Is especially recommended, but 
its year-around use makes it an important 
reference list whenever book films are 
shown, valuable for the school, the library 
or any community activity interested in 
book-film tie-ups. 

^'ou may say, how is one to recognize 
the books when "The Magnificent Amber- 
sons" of Booth Tarkington becomes 
"Pampered Youth," Herman Melville's 
"Moby Dick" comes forth "The Sea 
Beast" and "The Rubaiyat" is disguised 
as "The Lover's Oath" but this list re- 
cords all original titles when the picture 
title differs. This in addition to the au- 
thor, the featured players, the reels and 
the company. 

And It is not alwavs the picture adapted 
from the novel which makes a book-film, 
it may be a novelized version of a pic- 
ture, for example, the Red Grange foot- 
ball film "One Minute to Play" or Mary 
Pickford's latest picture "Sparrows". 

There are included also a number of 
excellent travel and scenic pictures closely 
related to reading which are entertaining 
in themselves and the shorter ones valuable 
for making up part of a program for spe- 
cial showings or junior matinees. 

Here is available for you a list of over 
four hundred good book-films which will 
surely be of Interest to all those interested 
in good motion pictures, as all the readers 
of this magazine undoubtedly are. 

Jl'rite for "Selected Book-Films. 1926" 
to the National Board of Revieii' . the 
price is 10 cents. 

^^NE State Library Association last year 
^^ reported an Increase in calls for books 
of 34,000 over the preceding year, the cause 
being attributed to the influence of pic- 
tures and the radio. 

T^HE Board of Indorsers of Photoplays, 
•'• a committee of the City Federation of 
Women's Clubs, of Des Moines, and the 
Better Films Committee of the Parent- 
Teacher Association, held a joint meeting 
early In October when they planned their 
activities for the year. 


National Board of Review Magazine 

Better Films Programs 

■'^ signed as secretary of the Better 
Films National Council of the National 
Board of Review, in January and left for 
the Pacific coast in the spring, addressed 
the film division of the Los Angeles dis- 
trict of the California Federation of Wo- 
men's Clubs recently. 

Miss Evans was associated with the 
National Board for ten years, and in her 
talk, she sketched the history of the Board 
from its organization in 1909 by the Peo- 
ple's Institute, and told in an interesting 
manner of the development of the review 
work and of the organization of the Bet- 
ter Films National Council. 

Mrs. E. H. Jacobs is the newly appoint- 
ed district chairman, and Mrs. Alfred 
Graham, state motion picture chairmail, 
was also present at the meeting and gave a 
short talk. 

chairman, Committee on Better 
Films, National Society Daughters of the 
American Revolution, has taken for her 
slogan for the year "A Chairman on Bet- 
ter Films in every Chapter". 

In a letter recently issued to state 
chairmen, Mrs. Chapman, after outlining 
the slogan says "Then let each chapter 
work out its problems, get the coopera- 
tion of the Exhibitor in the Town or City 
in which your chapter is located and by 
showing a helpful interest, encourage him 
to ask for the best service from the Mo- 
tion Picture world. 

"Give particular attention to the many 
holidays. Go to your manager, a month 
before the holiday, and ask him to choose 
a picture or film appropriate to the occa- 
sion, and if an Historical Day, hand him 
a list of worth while historic films and in 
this way assist him. If he cooperates, see 
that you do your part and in a business- 
like w.ay encourage attendance." 

Mrs. Chapman asks "In what manner 
can we best serve?" and answers the ques- 
tion "By doing our bit intelligently, by 
giving only constructive criticism, by see- 
ing the picture ourselves and not being 
guided by heresay and gossip ; by educat- 
ing ourselves, first, along film lines and 
criticizing afterward, and by training our- 
selves to look through the eyes of youth, 
as well as of maturity and experience, and 
to judge the pictures accordingly." 

Mrs. Chapman summarizes her letter 
by giving the following definite suggestions 
for work: 

1. That you encourage Chapter Chair- 
men to work in cooperation with the Man- 
agers or exhibitors in a helpful manner, 
realizing that it is their business, so the 
work must be practical as well as ideal- 

2. If you think the Junior Matinee is 
needed in your locality either sponsor it 
or join with some other group or groups 
and in this way accomplish something 

3. Emphasize the use of Historical pic- 
tures, or at least, pictures worth while 
on holidays and then stand by them. 

4. If you see advertising on posters, 
programs, or in newspapers which is not 
for the uplift of Motion Pictures, report 
it to your Chairman or V^ice-Chairman. 

5. Help us to work out the problem as 
to what pictures shall be made and pro- 
duced which can be used in our Church 
auditorium, that this great industry may 
aid us in trying to make Americans of 

National Council 

The Better Films National 
Council of the National Board of 
Review is promoting the Better 
Films Movement, and disseminat- 
ing information about the better 

Membership in the National 
Council is open to all, under three 
classes of membership — Associate, 
Cooperating and Club. 

Associate — S2 per year, entitles 
the members to receive the regular 
monthly publication. 

Cooperating — $10 per year, de- 
vised for those who wish to give 
some financial aid to tlie work for 
better films; it entitles the mem- 
bers to recieve special publications 
and services in addition to the reg- 
ular monthly magazine. 

Club — $1 per year for each 
member of local groups affiliating, 
which entitles these groups to re- 
ceive the regular monthly publica- 
tion for each member and one copy 
of the regular weekly publications 
for the club. 

\/jRS. ALFRED C. TYLER, of Evans 
•^*'- ton, Illinois, chairman of Motion 
Pictures, of the Department of Education, 
of the General Federation of Womtn'^ 
Clubs, is making every effort to have thi- 
program for the next two years broad in 
scope, and effective. She is uring all the 
clubs to appoint motion picture chairmen 
to take up some phase of the work out- 

In a statement given to the press re- 
cently Mrs. Tyler is quoted as saying: — 

"The Federation has a three-fold ob- 
jective in its motion picture activities: 

First, to give reliable information to 
every club member regarding the relative 
value of current films. 

Second to make performances on Friday 
ir'ght and Saturday afternoon especially 
fitted for the family group, by securing at- 
tractive, high grade pictures for these two 
performances, when most children attend 
the theatres, thereby encouraging attend- 
ance of children with their parents, rather 
than segregation. 

Third, to make the motion picture of 
value to the club by using selected films, 
thus making this department of the Fed- 
eration better known both to the club and 
to the community." 

T^HE Jacksonville (Florida) Better 
^ Films Committee, contributed one hun- 
dred dollars to the relief fund for Miami 
at a recent meeting. 

Mrs. E. B. Smith, chairman of the 
Junior matinees, reported an average at- 
tendance of over thirteen hundred boys 
and girls every Saturday. 

T^HE Charlotte Better Films committee, 
^ at its Chamber of Commerce recently 
re-elected .Mrs. J. A. Parbam, president; 
Mrs. Ralph \'anLandingham, first vice 
president, and Rev. Joseph A. Gaines, 

.Mrs. Jacob Binder was elected secretary 
to succeed Mrs. B. A. Powell, who served 
during the last two years, and J. Renwick 
Wilkes was elected to the newly created 
office of second vice president. 

Various phases of the work of the or- 
ganization, particularly the children's Sat- 
urday morning matinees, were discussed 
and reports of the various standing com- 
mittes were heard. 

A N outstanding feature of the regular 
-^ »■ monthly Better Films luncheon held 
in .Atlanta recently was the statement by 
E. R. Enlow, director of vusual education 
in the city schools, that in Chicago, where 
the school principals gave out a question- 
naire to the pupils, it was found that a 
large number attended as many as three 
picture shows a week. A further investi- 
gation showed that, of these movie-going 

(Continued on Page 19) 


Sepltmher-Oct'iht'r. Ninrlfcn Ttii-nly-six 


Guide To The Selected Pictures 

Selected by the Review Committees 

Key to Audience Suitability 

General audience (composed principal- 
ly of adults). Pictures primarily inter- 
esting to adults — but pictures not ordinar- 
ily recommended for boys and girls may 
be included in the list if the presentation 
is not objectionable for them. 

Family audience including young peo- 
ple. Pictures acceptable to adults and 
also interesting to and wholesome for hoys 
and girls of High School age. 

Family audience including children. 
Pictures acceptable to adults and also in- 
teresting to and wholesome for boys and 
girls of grammar school age. 

Mature audience. Pictures recom- 
mended for the consideration and enjoy- 
ment of adults. 

Note: — Programs for Junior Matinees 
should be selected from pictures in the 
family audience classification. 

* — Pictures especially interesting or iuell 
done but not necessarily "exceptional." 

*The Ace of Cads 

Directed by Luther Reed 

\Adulphe Menjou 
^'""""'9 j^/,,, Joyce 

Original screen story by Michael Arlen 

CAD or cavalier Adolphe Menjou is 
well nigh perfect in either part, but 
is a man a cad when for many years he 
bears the reputation of one in order to 
shield a disloyal friend, especially when 
to do so brings ruin to his own life? A 
dapper young officer of the English 
Guards finds life a joyous adventure 
made up of honor, friends and love, but 
a false friend's action changes this to an 
existence of social otracism. On the sur- 
face his life proceeds debonairly in spite 
of fate's trick but underneath is a cynic- 
ism, and when chance gives to him the 
opportunity to vindicate himself it is a 
very novel plot unraveling manner in 
which it is done. Admirable acting, di- 
recting and writing have resulted in a 
very entertaining production. 
For the general audience. 

(Paramount — 8 reels) 

*Across the Pacific 

Directed by Darryl Francis Zanuck 

Featuring Monte Blue 

Play by Charles E. Blaney 

f^Riyi war is again the subject of a 
^-^ picture, this time it is not the world 
war but the period of the insurrection 

in the Philippines which the soldiers 
of the Spanish American war were re- 
called to quell. Against this back- 
ground is told the story of one soldier 
who, to forget, joint? the army and has 
to carry out a very exacting duty as- 
signed to him alone. There are stirring- 
soldier scenes of the camp upon the 
beach, of the exhausted men crawling 
through the swamps, and of the cavalry 
bring'ing last minute aid. 

Monte Blue is very well cast as the sol- 
dier, and Myrna Loy makes an exotic 
native girl a joy to the eye. The period 
setting is good, all in all, it is a picture 
to hold the spectators' interest from be- 
ginning to end. 

I'or the family audience including young 

(Warner Brothers — 8 reels) 

*The Amateur Gentleman 

Directed by Sidney Olcott 

Featuring Richard Barthelmess 

Novel by Jeffery Farnol 

BASED upon Farnol's. novel of the same 
name, this picture tells the story 
faithfully, with careful attention to de- 
tail. The atmosphere of English modes 
and manners of the Eighteenth century is 
particularly well preserved, especially in 
a spirited steeplechase. Richard Barthel- 
mess as Barnabas Barty, the son of an ex- 
pugilist and innkeeper, who is determined 
to tiecome a gentleman, does exceedingly 
well with the part. He depicts a square- 
faced lumbering young man who cannot 
quite be a dandy despite expert valets and 
tailor service but who shows he is a gen- 
tleman at heart by his actions and his 
solicitude for others. It is these more 
sterling qualities that win Lady Cleone 
Meredith whom he sought to impress by 
his fine manners. 

For the family audience, including young 

(First National — 6 reels) 

Battling Butler 

Directed by Buster Keaton 

Featuring Buster Keaton 

Novel by Stanley Brightman and Austin 
Mel ford 

/'^OMEDY drama of a weak young 
^-^ man, with the same name as a well 
known prize figher, who goes to the coun- 
try to rest, falls in love with a girl, and 
in order to win her family's consent to 
their marriage, finds himself in the 

position of having to pose as the prize 
fighter and to enter the ring. Fate is 
with him and he wins both the bout and 
the girl. 

l-'or the famliv audience, including chil- 

( Metro-Goldwyn — 7 reels) 

The Belle of Broadway 

Directed by Harry (). Iloyt 

Featuring Betty Compson 

Musical comedy "Adele" by Paul Herve 

SECRETS of the stage are interestingly 
portrayed in a story of the life of a 
fair actress known as "Adele." Her fame 
and following had been great in both Paris 
and New York, but old age, discourage- 
ment and poverty have come upon her, for 
it is youth, they say, the public wants. 
Suddenly the Adele of former days appears 
again in her famous DuBarry role and 
all Paris is aquiver with excitement and 
all the old beaux of former days gather 
to do homage to the scintillating beauty. 
With livers scarce equal to the task of 
Paris after-theatre suppers, nevertheless 
they galfantly cast off the creaks of old 
age and follow in the train of the beau- 
tiful rejuvenated Adele. 

Only a very few know the real secret 
of this star and these few have the satis- 
faction of seeing joy come into the lives 
of three people through love and under- 
standing. A romance of the theatre neatly 
done and well acted. 

For the general audience. 

(Columbia Pictures — 6 reels) 

The Better 'Ole 

Directed by Charles Reisner 

Featuring Syd Chaplin 

Play by Bruce Bairnsfather 

'"PHIS popular play has been put upon 
■'■ the screen in a frankly farcical vein 
verging at times upon horse-play but in- 
variably hilarious. Syd Chaplin's make-up 
is uncannily faithful to the original Old 
Bill, walrus whiskers and all, and his per- 
formance is one of the best of his career. 
He enacts the part of the average Eng- 
lish doughboy mushing his way through 
the long War and taking it with the un- 
failing humor apparently so typical of the 
rank and file in all the armies. The Bet- 
ter 'Ole is a war picture without tears and 
lots and lots of laughter. 

For the family audience including chil- 

(Warner Bros. — ') reels) 


National Board of Review Magazine 

The Campus Flirt 

Directed by Clarence Badger 

Featuring Bebe Daniels 

Original screen story by Louise Long and 
Lloyd Corrigan 

AN cngapinp flapper story of a snob- 
bish younj; lady who thinks she is do- 
ing her colli-ge a favor by attendin;: it. 
She finds herself becoming more and more 
unpopular but finally makes good when 
she qualifies for the track team. The 
complications of the plot lead to her be- 
ing locked up in the astronomical observa- 
tory at the time of the big track meet. 
She extricates herself, of course in the 
nick of time and helps to win the meet 
for her college. The picture is cut to 
Miss Daniels' measure and her admirers 
are sure to like her in it. 

For the family audience including young 

(Paramount — 7 reels) 

The College Boob 

Directed by Harry G arson 

Featuring Lcjly Flynn 

Original screen story by Jack Hastings 

FOOTBALL story of a clodhopper 
who comes into his own when he has 
a chance on the gridiron. He is taken 
away from his barnyard and presented 
with the gift of a college education, but 
an education without athletics. He must 
learn to be a good veterinarian, that is all, 
so say the donors, an old fashioned aunt 
and uncle. If being the "goat" of the 
college helps him to be a veterinarian, he 
will succeed. But when the coach casts 
his eye upon the tackling possibilities of 
this country giant, he is out for football 
in spite of uncle and aunt. Nevertheless 
they nearly bring disaster to the big game 
but in the end the game is won for his 
college with the "boob" starring and be- 
coming the hero of the hour. 

For the family audience, including chil- 

(Film Booking Offices — 6 reels) 

Dancing Days 

Directed by Albert J. Kelly 

Featuring Helene Chaduick 

Novel by J. J. Bell 

STORY of a husband who wanted to 
warm himself at the flame of youth. 
He becomes infatuated with a younger 
woman who is dance mad and leaves his 
wife for her. Too many parties prove 
his undoing and he falls seriously ill. He 
finally realizes that his real happiness is 
bound up with his wife. This picture is 
interesting and human because the rivalry 
between the two w-omen avoids the con- 
ventional melodramatics and the younger 
woman is not depicted as an intriguing 

For the general audience. 

(Famous Attractions — 6 reels) 

Devil's Island 

Directed by Frank O'Connor 

Featuring Pauline Frederick 

Original screen story by Leah Baird 

A DRAMATIC tale of a woman's sac- 
rifice for love and her reward. A 
military surgeon in Paris is banished to 
the penal colony on Devil's Island for life. 
Although of an influential and prominent 
family his beautiful young fiance has 
worked and pleaded in vain for his re- 
lease. After seven years in isolation with 
criminals of every degree and race, the 
surgeon is sent to the mainland where his 
faithful sweetheart awaits him. She 
remains by his side in this slightly 
ameliorated detention camp virtually a 
criminal herself. So joyous are they in 
their unbounded love for each other that 
they do not feel the loss of the world with 
its pleasures and companionships. But 
when a son is born to them, born with the 
stain of a criminal, all their thoughts and 
plans are bent upon his future in Paris 
where he can carry on the ruined medical 
career of his father whose talent he has 
inherited. Years pass and approaching 
manhood brings various conflicts in the 
life of the young man, but mother love 
accomplishes its purpose and the reward 
is a life of happiness for both mother and 
son far removed from the blight of Devil's 
Island. Pauline Frederick handles cap- 
ably the emotional role, helping one to 
forget a somewhat faulty plot. 
For the general audience. 
(Chadwick Pictures Corp. — -7 reels) 

Fine Manners 

Directed by Richard Rosson 

Featuring Gloria Sivanson 

Original screen story by Frank Irceland 
and J. E. Creelman 
A YOUNG millionaire falls in love 
■'» with a slangy, hoydenish chorus girl 
from a burlesque show. He turns her 
over to his snobbish. Park Avenue aunt, 
who sets out to train her to be a lady, 
while he goes off on a long trip. On his 
return he is disappointed to find her de- 
cidedly over-trained so that he longs to 
have her be her old self again. She thinks 
he no longer loves her and kicks over the 
traces, to the horror of the etiquette book 
aunt. But of course that was just the 
way to win him back. If you are a (jlorla 
Swanson fan you will enjoy this picture. 
For the general audience. 

(Paramount — 7 reels) 

The Flying Horseman 

Directed by Orvillc Dill 

Featuring Buck Jones 

Serial story in "The Country Gentleman" 

by Max Brand 

VWESTFRNERS there are a plenty 

which can claim scenery and good 

riding, but this one can boast in addition 

eight lively boys and a flivver. Into the 

West one day comes, riding on a white 
horse, a wandering cowboy. There he 
finds opportunity for many helpful deeds 
not the least of which is the training in 
Scout ways of this urchin band of eight. 

A coming race is the big event of 
the season and all the cowboys are 
out for it, our hero among them, but 
with his enemies deciding otherwise. 
However, they fail to take into ac- 
count the Boy Scouts who rally loyally to 
their comrade and their good deed for this 
day means for him the winning of the 
race, the purse, and the girl. 

For the family audience, including chil- 

(Fox — 5 reels) 

For Alimony Only 

Directed by Cecil De Mille 

Featuring Leatrice Joy 

Original screen story by Leonore J. Coffee 
C TORY illustrates the abuse of alimony 
^ on the part of mercenary wives. Here 
we have a cold-blooded heartless woman 
who collects alimony where she can. Her 
ex-husband is handicapped by the large 
payments he has to make to her which 
grow all the more burdensome as he falls 
in love with and marries another woman. 
Wife number two cleverly helps him to 
trap his first wife in a road house raid 
and gives her the choice of being arrested 
or marrying her escort. 
For the general audience. 
(Producers Distributing — 6 reels) 

Forever After 

Directed by /•'. Harmon Jt'ight 

,, . \Mar\ Astor 

/• eaturing , , , ', rj , 

^ I Lloyd Hughes 

Play by Owen Davis 
A WAR romance, taken from the stage 
■'*■ success. In a small town in Amer- 
ica, a girl and boy. friends since child- 
hood, fall in love but are sep.arated by 
the girl's ambitious mother who wishes 
her daughter to marry a wealthy man. 
Later the boy is brought into a hospital 
in France and pronounced dead, but is 
nursed back to health and happiness by 
the girl who had joined the Red Cross. 
For the general audience. 

(First National — 7 reels) 


Directed by William K. Hotcard 

Featuring Rod La Rocque 

Novel by Edna Ferber 
A GOOD case of shell shock is liable 
-'' to make a hitherto blameless young 
man do almost anything even to becoming 
a gigolo (cake-eater) in a Parisian cabaret 
where American girls go to be danced with 
at so much per dance. That is the theme 
of Edna Fcrber's novel and of course it 
make a good plot for a motion picture 
too. Rod La Rocque plays the part of the 
nerve shattered young man who leaves 

September-October, Nineteen Tuenty-six 


the hospital to find himself penniless and 
alone in Paris. When the girl he loved 
at home arrives in the cabaret he first 
denies his identity but she finds him out 
and luck leads him into an encounter with 
the adventurer who tricked his mother 
out of her fortune. He snaps out of the 
gigolo role and becomes a good American 

For the family audience, including young 

(Producers Distributing — 7 reels) 


The Great K and A Robbery 
Directed by Lew Seller 

r. . ■ \Tom Mix 

teaturing 1™, ,, t- 

[1 he norse, 1 any 

Xoi<el by Paul Leicester Ford 
FTER experiencing a series of train 
robberies, the president of the K and 
A railroad secured a detective from a 
Texas railroad. This detective, instead of 
reporting for duty, poses as a bandit, there- 
by learning the identity- of the real ban- 
dits. There are excellent shots of the 
Royal Gorge, of Colorado, good riding, 
and in many scenes Tony, the horse, 
shares honors with Tom Mix. 

For the family audience including chil- 

(Fox — 5 reels) 

Hold That Lion 

Directed by Jt'illiam Beaudine 

Featuring Douglas MacLean 

Original screen story by Rosalie Alulhall 
A LOVELORN bachelor, prompted by 
■'»■ his friend makes up his mind to marry 
the first girl he sees when he opens the 
door of his office. She happens to be a 
beauty but is just about to sail for an 
African lion hunt. The hero follows and 
finds that it is up to him to beard a lion 
if he wants to shine as a hero in the girl's 
eyes and eclipse his rival who is an expe- 
rienced lion hunter. The lion is hungry 
and willing to play. He chases the hero 
around the stockade while the rest of the 
hunting party thinks he has got the lion 
hypnotized into following him. How he 
accidentally traps the lion and reaps the 
reward of his heroism in the shape of the 
heroine winds up an amusing comedy in 
which Douglas MacLean is at his best. 

For the family audience including chil- 

(Paramount — 6 reels) 

It Must Be Love 

Directed by Alfred E. Green 

Featuring Colleen Moore 

Saturday Evening Post story "Delicates- 
sen" by Brooke Hanlon 
pERNTE SCHMIDT, fair daughter of 
prosperous delicatessen dealer, has one 
consuming ambition. She wants to get 
away from the aroma of limburger cheese, 
pickled herring, and scallions. Her father, 
a stubborn old soul, would wed her to a 
young but not handsome sausage manu- 
facturer who is also the world's champion 
onion and garlic eater. Fernle rebels and 
gets a job in a department store where 

she encounters her young man uliu is only 
a stock clerk and not a stock broker, ^'ou 
see, he was deceiving her, but then she had 
posed as a lady of leisure and had care- 
fully kept him from finding out about her 
aromatic past. Meanwhile father has 
come around and is willing to retire so 
that Fernie can be a real lady. He has 
sold out his business but you must guess 
to whom. Fernie is out of luck but happy, 
for she is in love. Anyway love laughs 
at delicatessen as well as locksmiths. 

For the family audience, including 
young people. 

(First National — 8 reels) 

The Kick-Off 

Directed by Il'esli y Ruggles 

Featuring George Walsh 

Original screen story by Wesley Ruggles 
jZrOOTHALL is coming in for quite a 
*■ share of attention from the motion 
pictures these days, so if one misses a 
chance at any of the games this fall on 
the gridiron there is certainly one to be 
found at the movies. In this story the 
player has kept himself hard by a summer 
spent as a garage mechanic and looks for- 
ward to the new season at a larger school. 
In his work at the garage chance has 
brought into his life a girl and a man 
from this college, the former proving his 
staunchest ally and the latter, through 
jealousy, his enemy. Therefore, when the 
day of the big game arrive.', he has been 
enticed far away and the rival college is 
having its way with the game. But not so 
lightly is this player daunted and he ar- 
rives at the crucial moment and wins the 
game amid the shouts and cheers of his 
happy comrades. 

For the family audience, including young 

(Excellent Pictures — 6 reels) 

Kid Boots 

Directed by Frank Tuttle 

Featuring Eddie Cantor 

Musical comedx by If. A. McGuire and 

b. Harbach 
A MORE or less hilarious comedy with 
■'*■ Eddie Cantor performing many dar- 
ing and amusing feats with the "girl of 
his dreams ". Eddie is forced to resign 
from a position of tailor's assistant and 
becomes involved in a divorce sut. At 
a country club, where Eddie is staying 
he renews his acquaintance with a girl, 
and the two have an exciting chase to 
reach the court where the suit is being 
tried. The story is trite and but for the 
acting of Mr. Cantor would fall flat. 

For the family audience including young 

(Paramount — 6 reels) 

Marriage License? 

Directed by Frank Borzage 

Featuring Alma Rubens 

Play "The Pelican" by F. Tennyson Jesse 

and H. AL Haru'ood 

A DRAMA built upon the legend — 

^^ The female Pelican will pluck her 

breast to feed her young with her own 

blood. The happy relations of an Eng- 
lishman and his young wife from Canada 
is ruthlessly destroyed when he brings her 
to his ancestral home. His mother un- 
bendingly conscious of generations of 
titled ancestry will brook no "outsider " 
as a wife for her son, and uses her power 
to end the romance. The joyous young 
wife accepts her fate and uncomplainingly 
through the years forgets her own life in 
that of her baby as he grows to manhood. 
Then one day when happiness again is 
within reach comes suddenly a crucial de- 
cision — her own or her son's happiness — 
for her to make. The struggle of the mother 
heart before she makes her choice is a 
fine piece of dramatic portrayal upon the 
part of Miss Rubens. The cast is well 
chosen and with able direction results in 
an absorbing tale of love. 
For the mature audience. 
(Fox — 8 reels) 

The Merry Cavalier 

Directed by Mason Noel 

Featuring Richard Talmadge 

Original screen story by Grover Jones 
^~HE ever acrobatic Richard Talmadge 
^ in a new story which is sure to de- 
light his fans. The olot keeps him busy 
helping the heroine to protect her rights 
in a big lumber tract which a scheming 
neighbor is trying to take away from her. 
Talmadge's stunts are both thrilling and 
mirth provoking, especially when they are 
done with a touch of burlesque. 

For the family audience, including chil- 

(Film Booking Office — 5 reels) 

The Midnight Kiss 

Directed by Irving Cummings 

„ . {Richard If ailing 

t eaturing , , , ^ 

' {Janet Gaynor 

Play "Pigs" by Anne Morrison and 

Patterson McNutt 

' 'IDIGS is Pigs" so it is a straining to 

^ connect pigs with a midnight kiss. 
But when two youthful lovers work 
through the night to save a whole corps 
of ailing pigs they have a right to seal the 
victory with a kiss. And in this homely 
comedy of two small town families, they 
do just that, and what can frantic parents 
say when all works out so happily and as 
the mother says "a good horse doctor is 
better than a poor president." A whole- 
some, well acted story with a very human 

For the family audience including chil- 

(Fox — 5 reels) 

My Official Wife 
Directed by Paul L. Stein 

n , . \ Irene Rich 

r eaturing , y-, ™ , 

I (jonway J earlt 

Play by A. C. Gunter 
D USSIA, in pre-war days and Vienna, 
^^ in post-war days, furnish the back- 
ground for a tale about the love and ad- 
venture of a young Russian girl of no- 
bility. Her adventures begin upon the 


National Board of Review Magazine 

chance meeting with six dashing! officers 
of the Imperial Guard. Life to them is 
one round ot shared pleasures and when 
an upset in the snows of a country road 
throws into their arms a heautiful 
young peasant girl, as they judge from 
her masquerade costume, they accept with 
unquestioning delight this gift from the 
night. Later she attempts to gain re- 
dress for her insulted dignity hut when 
the son of a grand duke is concerned pow- 
erful forces can he brought to action. 

Passing time finds her in Vienna with 
but two desires in her heart — revenge and 
a longing for old Russia. .Again mistaken 
identity plays a part and her wishes come 
true. For those who like the prince-car- 
ried-ofif-the-fair-lady-type of picture here 
is one made to their order. 

For the general audience. 

(Warner Bros. — 8 reels) 

The Nervous Wreck 

Dirictiil by Scotl Sidney 

Ft-aturing Harrison Ford 

Play by Owen Davis 

AMUSING story of a hypochondriac 
who is cured by the elixir of love and 
the bracing effect of life on a Western 
ranch. At first he lives on a diet composed 
exclusively of pills and expects to die any 
minute. Gradually, however, he forgets 
these sad expectations as he becomes in- 
terested in the heroine and finally helps to 
trounce the villians. In the end he is 
surprised to find that his only illness is 

For the family audience including young 

(Producers Distributing — 7 reels) 

*One Minute to Play 

Dirtcted by Stim Hood 

Featuring "Red" Grange 

Original screen story by Byron Morgan 

ONE of the best pictures about football 
and college life ever made. The plot 
deals with a football star who stays out 
of the final game through a sense of loy- 
alty to his father, braving the cont-mpt of 
his class and team mates. But when his 
father himself puts him into the game, 
well, it's "Red " Grange in person who car- 
ries the ball and who carries it where he 
wants to. The football playing is the 
real thing and the college atmosphere is 
genuine too. The picture proves that 
"Red" Grange has a winning screen per- 
sonality which would bring him success 
quite aside from his gridiron reputation. 

For the family audience, including chil- 

(Film Booking Office — 8 reels) 

soon become productive and provide the 
luxuries for which she craves. .Mining 
difficulties arise, however, and she is forced 
to rough it while she envies a rich and 
worldly woman on a neighboring ranch 
who has married several men for their 
money. She breaks with her husband just 
as he strikes it rich. He thinks he has 
lost his wife's love but showers her with 
wealth and consents to a divorce with a 
liberal allowance. The wife wakes up 
just in time and put up a successful battle 
for her husband when she finds that the 
other woman is angling for him. 
For the general audience. 

(Universal — 7 reels) 

Perch of the Devil 

Directed by King Baggott 

SPat O'M alley 
^'■'•'•"■"•9 |A/a, Busch 

Novel by Gertrude Alherton 

A RATHER flighty and immature girl 

■^^ marries a serious minded engineer in 

the expectation that his gold mine will 

Risky Business 

Directed by Alan Hale 

Featuring J'era Reynolds 

Saturday F.vening Post story "Pearls Be- 
fore (Jecily" by (Uiarles Bracket! 
A RATHER spoiled young girl faces 
the choice between an idle rich suitor 
and a young hardworking country doctor. 
Her worldly mother favors the rich suitor 
but she visits the doctor for a week-end 
to see for herself what life with him 
would be like. She arrives just when the 
doctor's services are in constant demand 
so that she sees nothing but the drudgery 
of his life. She deserts him for a house 
party at her rich suitor's nearby estate, to 
her mother's great satisfaction. But the 
drunken revelries there soon disgust her 
so that she wisely decides to cast her lot 
with the doctor. A sincere story, well 
told without being preachy. 

For the family audience, including young 

(Producers Distributing — 7 reels) 

Smilin' Sam 

Directed by William It'yler 

Featuring Fred Humes 

Original screen story by Florence Ryerson 

SMILIN" SAM, beset w-ith financial 
worries, is anxiously awaiting the ar- 
rival of the stage which is to bring him 
money to meet a mortgage, only to learn 
that his funds were lost in a hold-up. But 
whether he is chasing sheep off his ranch, 
or following the trail of the bandits, Sam 
is always smiling. 

For the family audience including chil- 

(L'niversal — 5 reels) 

Bronx apartments and is strong for fit- 
ting out one of them for honeymoon pur- 
poses. .Meanwhile, however, Sadie is pro- 
moted to the position of foreign buyer and 
Paris seems once more to have it on the 
Bronx. A crash in the subway lays the 
hero low and Sadie throws over her chance 
to get to Paris by rushing to his bedside. 
But you can't keep a good subway guard 
down and you can't keep honeymoon 
couples from going to Paris. 

For the family audience, including young 

(First National — 7 reels) 

Subway Sadie 

Directed by Alfred Santell 

Featuring Dorothy Mackail 

Red Book Magazine story "Sadie of the 
Desert" by Mildred Cram 

SADIE HERMAN, a sales girl in a 
fashionable fur store, has heard of 
Paris and likes the idea. While the idea 
still seems hopeless, she finds herself in- 
trigued by an Irish subway guard on 
whose train she rides down to work almost 
every morning. While he hardly qualifies 
as a guide to Paris, he knows all about 

Take It From Me 

Directed by Il'm. B. Letter 

Featuring Reginald Denny 

Musical comedy by If'm. B. Johnstone 

AFTER losing an inheritance on a 
horse race, a young man finds that 
he is heir to a department store — that 
is if he can make the store show a profit 
in the first three months, otherwise, the 
business reverts to the manager. The 
manager plots to wreck the business to 
gain permanent possession; the heir, for 
the purpose of winning a girl also tries 
to lose money, and many humorous situ- 
ations are developed. 

For the general audience. 

(Universal — 7 reels) 

Taxi! Taxi! 

Directed by Melville Broivn 

Featuring Edivard Horton 

Saturday Evening Post Story by George 

CO-MEDY of a simple minded young 
draftsman to whom the holding' of his 
job is not a serious matter until the boss's 
niece arrives. Then he entertains her in 
grand fashion which includes, of course a 
taxi, his means of getting this is quite dif- 
ficult but his means of getting rid of it 
when it proves to be a shadowed taxi is 
much moie difficult. But the job and the 
girl in the end become his and as for the 
taxi, it is a "white horse of another color." 
For the general audience. 

(Universal — 7 reels) 

The Texas Streak 

Directed by Lynn Reynolds 

Featuring Hoot Gibson 

Original Screen story by Lynn Reynolds 

SOMETIMES somebody laughs at a 
Westerner. Result, an enjoyable bur- 
lesque. The task presents no great diffi- 
culty. The cowboy and his cows and his 
cowgirl arc inclined to be a bit too solemn 
about themselves. Too much heroic, too 
much manly virtue, too much riding down 
hill at impossible steep angles, these are 
all legitimate subjects for gentle satire. 
Hott Gibson's take off is done in exactly 
the right mood. He can shoot anvthing 
without even bothering to look in the di- 
rection of his target. He will ride his 
horse up a tree if you insist. He can lick 
any amount of rustlers without missing 

September-October, Nineteen Tivenly-six 


his five gallon sombrero. If you like West- 
erners you will like the spirit of fun in 
which this one was made. 

For the family audience including young 

(Universal — 7 reels) 

Then Came the Woman 

Directed by David Hartford 

{ Cull en Land is 

Featwing \ Frank Mayo 

I Mildred Ryan 

Original screen story by David Hartford 

A YOUNG man is given an opportun- 
ity in his father's factory, after be- 
ing expelled from college, only to lose 
out because of his ungovernable temper. 
While tramping through the west, he is 
arrested on a misapprehension, and is 
paroled to a lumberman for a year. In 
the woods he learns self control and de- 
velops ability to handle men. A love 
theme interwoven in the plot is interest- 
ing, and the shots in the woods and of 
the forest fires are unusually good. 

For the family audience including young 

(American Cinema — 7 reels) 

*Three Bad Men 

Directed by John Ford 

{George O'Brien 

f^'""'-'"9 \0live Borden 

Xovel "Over the Border" by Her/nan 

DEVELOPMENT of the west has 
been the theme of many films. In "The 
Three Bad Men" is told the story of the 
opening of the gold lands of the Dakotas 
in 1876. The plot centers around three 
weather beaten old characters adventur- 
in the West. Their paths cross that of 
' the long train of wagons westward bound 
to be on hand for the day when the decree 
of President Grant opens the government 
gold lands. But right here the three bad 
men become the three good men, for it 
falls to their lot to take upon themselves 
the protection of a lone and lovely young 
lady in the train, whose father has fallen 
prey to villainy. No further harm, they 
decide, shall befall this frail miss. In time 
the outpost which is the gathering place of 
the wagons is reached and camp made 
there, whereupon the three protectors add 
a fourth who is a young wandering soldier 
of fortune with ever a cheerful tune, and 
with manners more suited to their young 
lady than their gruff ways. 

This town is almost lawlessly ruled by a 
deceptive gentleman sheriff whose real 
companions are those who are his tools 
in evil deeds. 

Finally comes the appointed day and at 
an early hour along the border indicated 
by the federal officers as the starting point, 
is drawn up a line of thousands ready for 
the rush. Vehicles of every kind are in 
line as the means of carrying the people to 
wealth. Then the signal is given, the rush 
of gold seekers is on, madly they strive 

forward. This scene is very vividly por- 
trayed and well directed. 

The story then returns to the chief char- 
acters who because of the swiftest horses 
have gone far ahead, but the wily sheriff 
and his party lie in wait for them for no 
good purpose, and it is a heroic fight which 
the three good "bad men" put up to pro- 
tect and guard the two young lovers for 
whom they are willing to sacrifice their 

Not all the seekers find the longed for 
gold, but another discovery is made, that 
of rich and fruitful Dakota farm land and 
thus there was no turning back, but a set- 
tling down with the determination to 
work contentedly with this find of the soil. 

A human interest story graphically un- 

For the family audience, including young 

( Fox — 9 reels) 

For the family audience including chil 

(First National — 7 reels) 

Tin Gods 

Directed by ^llen Duan 

\Thoinas Meighan 

Featuring i Renec Adoree 

\Aileen Pringle 
Play by ll'iltiam Anthony McGuire 

DRIDGE building as the idol of a hus- 
*— ' band is overshadowed by the idol of 
political achievement cherished by the 
wife. Thus the home suffers and es- 
trangement follows, each seeking his own 
path. But sorrow takes the soul from 
bridge building and the amhitionless en- 
gineer is only saved from the depths by 
the attentions of a dancing girl in a 
South American cafe, whom he likens to 
the little rivet which holds together the 
powerful girders of the bridge. This part 
is ably played by Renee Adoree. Never- 
theless as the fire of the rivet cools to 
darkness, so does dark tragedy come into 
the life of the impulsive dancer and only 
memories remain warm. Romance has its 
little hour and passes and the routine of 
existence creeps in the drama of three 

For the general audience. 

(Paramount — 9 reels) 

The Unknown Cavalier 

Directed by Albert Rogell 

Featuring Ken Maynard 

Story "Ride Him, Cowboy" by Kenneth 

W/ ESTERN romance in which a wan- 
'' dering cowboy dazzles the spectators 
with his skill upon a lawless steed. He 
proves the villagers wrong in their judg- 
ment of the horse thereby winning two 
friends, the horse and its owner a charm- 
ing young lady, who is no mean rider her- 
self when it comes to saving her unknown 
cavalier who has risked his life to free 
tht countryside from a mysterious bandit. 
To those liking Westerners this is sure to 
be good entertainment for the skillful 
horsemanship and realistic desert scenes 
with a touch of comedy give all the ex- 
pected thrills. 

The Waning Sex 

Directed by Robert 7.. Leonard 

Featuring Norma Shearer 

Play by Frederick and Fanny Hatton 
T^HE plot of this story deals with what 
'^ used to be called a duel between the 
sexes. But that is only another name for 
a love story especially when, as here, it is 
told with a light comedy touch. A dis- 
trict attorney who thinks he is death on 
the new fangled woman finds himself in 
love with a young woman lawyer who 
despises the old feminine bag of tricks. 
She consents to marry him if he wins two 
out of three friendly contests. He beats 
her in a swimming race but she turns 
around and makes a fool of him in court 
before judge and jury. She doesn't really 
want to win the next contest so she wins 
him by losing it. An enjoyable comedy with 
a smooth performance by Norman Shearer. 
For the family audience, including young 

( Metro-Goldwyn — 7 reels) 

West of Broadway 

Directed by Robert Thornly 

Featuring Priscilla Dean 

Red Book Magazine story by Wallace 

\ N up-to-date foreman of a large West- 
•'»• ern ranch has provided a golf course 
for the cowboys with a club house for men 
only. The boys have not been able to de- 
velop a very good game so that the ser- 
vices of a golf instructor are in order. 
The instructor arrives in his golf togs 
and nobody is aware that he is a lady 
until a dazzling evening dress makes an 
end of the secret. The foreman thinks 
he is a woman hater and has almost per- 
suaded the rest of the boys that they are 
of the same mind. But the instructress 
refuses to be shipped back and gets down 
to the business of converting these pre- 
posterous males to a more sociable atti- 
tude towards her sex. It soons turns out 
that some of the cowboys just love to 
weaken when it comes to taking private 
golf lessons from such a beautiful teacher 
and the rest are conquered by a surprise 
dance to which all the young ladies of the 
neighborhood have been invited. The 
foreman holds out longest but in the end 
he too comes down with a heavy love 
fever which is promptly cured when he 
swallows his own words about being a 
woman hater. 

For the family audience, including 
young people. 

(Producers Distributing — 6 reels) 

Woman Power 

Directed by Harry Beaumont 

^ \Halph Graves 

reaturing ■, ,- ,, „ 

{Kalhryn rerry 

Magazine story by Harold MacGrath 

A ROMANCE of the dissolute son of 

^^- a wealthy father who, when he is un- 


National Board of Review Magazine 

able to defend himself acaliist the attack 
of a rival lover of his Broadway butterfly 
and when he is driven from home by an 
exasperated father, finally realizes his 
utter worthlessncss. He submits himself 
to the rigors of a prize-fighter's training 
camp with the resolve to overcome his 
weakness. This he succeeds in doing and 
here he comes also under a new moral in- 
fluence, that of a fine young girl, the camp 
manager's niece. The course of their 
friendship is brought quickly to the point 
of a declaration of love by the very amus- 
ing, would-be clever, interference of the 
various characters around the training 
camp, all of whom love the young lady in 
their own way, strange as these ways may 
be, but if they have to give her up, she 
must get what she wants and this they 
proceed to see she does. 

The redeemed young man has no com- 
plaint to make against any speeding up of 
the affair as soon as he has tested and 
proven his regained manhood to his own 

For the general audience. 
(Fox — 6 reels) 


The Alligator's Paradise 
(Lyman H. Howe Cartoon) 
A travelogue with views of alligator 

For the family audience, including chil- 

(Educational — 1 reel) 

Around the World in Ten Minutes 
(World We Live In series) 
Glimpses of important ports of the 

For the family audience including chil- 

(Fox — 1 reel) 

Austrian Alps 
(World We Live In series) 
Views of the Alps unusually presented. 
For the family audience including chil- 

(Fox — 1 reel) 

Falling Water Valley 
(Robert Bruce Scenic) 
Attractive scenic of the Sierras and fas- 
cinating cloud photography. 

For the family audience, including chil- 

(Educational — 1 reel) 

VoT the family audience, including chil- 

(Pathe— 1 reel) 

*The Blue Boy 

. \John Roche 

F'-otunng , Phillippe de Lacy 

Interesting story built around Gains- 
borough's painting, "The Blue Boy." 
Done in Technicolor. 

For the family audience, including chil- 

(Educational — 2 reels) 

More Ways Than One 
(Sportlight series) 
Grantland Rice shows there are more 
ways than one in sports. 

For the family audience including chil- 

(Pathe — 1 reel) 

*Pathe Review No. 36 
American Universities — Tulane, New 
Orleans ; With the Roosevelts in Turke- 
stan ; The Scrambled Scrapbook, a nov- 

For the family audience, including chil- 

(Pathe— 1 reel) 

Cliff Dwellers of America 

(World We Live In series) 
Scenic travelopue of American Cliff 

For the family audience including chil- 

(Fox — I reel) 

*Pathe Review No. 37 
Sub-flapper Fashions; Taking a Chance 
at Chimney Rock, Rope-climbing; Beyond 
the Purple Pool, a Camera Fantasy of 
the Ballet. 

For the family audience, including chil- 

(Pathe— 1 reel) 

*Pathe Review No. 38 
Feet — Her's n His'n, a novelette; 
Whirling Waters, a pictorial study in col- 
ors; The Lost Empire of Africa, Expedi- 
tion led by Count de Prorok. 

For the family audience, including chil- 

(Pathe— 1 reel) 

*Pathe Review No. 39 

The Immortal Prince of Old Egypt, 
Scenes from the Metropolitan Muesum of 
Art; What the Microscope Reveals about 
the Sea Urchin (L. H. Tolhurst) ; Cam- 
era Catches (novelty) ; The Children of 

For the family audience, including chil- 

(Pathe— 1 reel) 

*Pathe Review No. 40 

With the Roosevelts in Turkestan; 
Studies in Color by Arthur C. Pillsbury, 
Yosemite Park, Calif.; "The Poor Fish," 
Fish Hatchery, Hackettstown, N. J. 

For the family audience, including chil- 

(Pathe— I reel) 

*Pathe Review No. 42 
The Butterfly Congress, American Ex- 
cavations at Ancient Carthage; Studies in 
Color by Arthur C. Pillsbury, Yosemite 
Park, Calif. 

For the family audience, including chil- 

(Pathe— 1 reel) 

*Pathe Review No. 41 
Demon Masks, How the American In- 
dian fooled his "Devils" ; The Boyland 
Flier, White Mountain Narrow Gauge 
Railroad; The City of Watchers, Boni- 
facio, Corsico, Zoo Babies, Luna Park 
Zoo, Los Angeles. 

The Restless Race 

(Sportlight series) 
How to take the "rest" out of restless. 
For the family audience, including chil- 

(Pathe— I reel) 

Rocky Mountain Gold 
(World We Live In series) 
Interesting views of the mining indus- 
try in Colorado. 

For the family audience including chil- 

(Fox — 1 reel) 


Alice the Fire Fighter 
Cartoon comedy in which Alice and her 
tire fighters turn and quench a fire in a 

I'or the family audience including chil- 

(F. B. O.— 1 reel) 

Benson of Calford 

(Collegian Series) 
Featuring George Lewis 

A young man wins a foot race and 
thereby gets an opportunity to work his 
way through college. Amusing Freshman 

For the family audience, including chil- 

(Universal — 2 reels) 

Felix the Cat Misses His Swiss 
F"elix follows the mice to the Alps to 
prevent them from getting a Swiss cheese. 
For the family audience, including chil- 

(Educational — 1 reel) 

Fighting to Win 
(The Collegians) 

Featuring George L<\cis 

Young Benson, a freshman in Calford 
College, wins opportunity to join the foot- 
hall squad. 

For the family audience including chil- 

(Universal — 2 reels) 

Jolly Tars 

Featuring Lloyd Hamilton 

A young man by mistake takes a bus t« 
the Naval Training Station and finds him- 

September-October, Nineteen Twenty-six 


self enlisted for four years. 

For the family audience, including chil- 

(Educational — 2 reels) 

Films Appropriate for Navy Day, 
October 2 7th 

Making Good 
(The Collegians) 

Featuring Geor(ie Lewis 

Benson, of Calford, wins the canoe tilt- 
ing contest. 

For the family audience including chil- 

(Universal — 2 reels) 

Rare Bits 

Styles of 1906, 1916, 1926; odd crea- 
tures and shots in various parts of the 

For the family audience, including chil- 

(Educational — 1 reel) 

Smith's Pets 

„ \ Raymond McKee 

F '"'"'■'"!> ]Mary Ann Jackson 

When a pig is added to the flat it be- 
comes necessary to remove the pets back to 
the farm. Clever little girl. 

For the family audience, including chil- 

(Pathe — 2 reels) 

What No Spinach? 

\Harry Siveet 
'■^"""■'"g \Gale Henry 

Amusing comedy of a man who must 
marry in 48 hours. 

For the family audience, including young 

(F. B. O.— 2 reels) 

A Wild Roomer 

featuring Charlie Bower 

A crazy inventor invents a machine 
for general housework and almost wrecks 
two houses doing it. Very ingenious. 

For the family audience including chil- 

(F. B. O.— 2 reels) 

Better Films Programs 

(Continued from Page 12) 

pupils, the majority were failing in their 
school work. 

In Atlanta the efforts of parents and 
teachers alike have been directed, it w-as 
shown, to the carrying out of the slogan, 
"One Movie a Week — the Better Films 
Saturday Morning Matinee." 

D EFERRING to the Better Films 
'■^ work in Kansas City, Missouri, The 
Star makes the following complimentary 

For more than two years now, readers 
of The Star's movie pages have read a 

WEST INDIES.— 1 reel— Y. M. C. A., 
120 West 41st Street, New York City. 

The making and ready for use on the 
battleship. — ! reel — Prizma, Inc., 3191- 
.5197 Boulevard, Jersey City, New Jersey. 

Showing what the Navy and the Mer- 
chant Marine mean to the people. — I reel 
— Handled by all National Distributors. 

NCR-1, 2 and ^ in flight. — 1 reel^Navy 
Recruiting Station, South and Whitehall 
Streets, New York City. 

ERN FRONT — Fourteen-inch guns in 
action on the field of Verdun. — 1 reel — 
Navy Recruiting Station, South and White- 
hall Streets, Ne«- York City. 

How government lightships, bouys and 
lighthouses are maintained. — J4 reel — 
Bray Productions Inc., 729 Seventh Ave- 
nue, New York Citv. 

Work-time and play-time hours of the 
blue-jacket on shipboard. — 1 reel — Navy 
Recruiting Station, South and Whitehall 
Streets, New York City. 

U. S. Naval Academy scenes. — 1 reel — 
Burton Holmes Laboratories, 7510 N. 
Ashland Avenue, New York City. 

PLAY. — 2 reels — United Projector and 
Film Corp., 228 Franklin Street, Buffalo, 
New York. 

— Navy Activities in the famine regions 
of the eastern Mediterranean. — 2 reels — 
Navy Recruiting Station, South and 

Whitehall Streets, New York City. 

to convince us that life on one of Uncle 
Sam's boats sailing the Seven Seas is not 
ant to be monotonous, but entertaining 
and broadening. — 2 reels — Navy Recruit- 
ing Station, South and Whitehall Streets, 
New York City. 

of the Cruiser Concord to Egypt, down 
the eastern shore of Africa, to St. Helena, 
and home by way of Brazil. — 2 reels — 
Navy Recruiting Station, South and 
Whitehall Streets, New York City. 

THREE GOBS— Navy activities, done 
in color. — I reel — Carter Cinema Produc- 
ing Corp., c/o Evans Film Laboratory, 
1476 Broadway, New York City. 

HIGH SEAS — A scenic record of some 
of the activities of our fleet, and a glimpse 
of the life on board a fighting ship. — 1 reel 
Spiro Film Corp., Irvington-on-Hudson, 
New York. 

EMY, ANNAPOLIS, MD.— The gov- 
ernment training school for naval officers. 
— 1 reel — United Projector and Film 
Corp., 228 Franklin Street, Bufifalo, New 

Dear Mother, 3 reels; Rio the Beautiful, 
1 reel; Life on the U. S. S. New York, 
1 reel; Panama Canal from a Seaplane, 
1 reel; The Great Trans-Atlantic Flight, 
1 reel; Navy Railway Batteries in France, 
1 reel; Atlantic Fleet in the West Indies, 
1 reel; Transports in the War, 1 reel; 
Seaplane — San Diego to San Francisco, 1 
reel; Destroyers in the War, 1 reel. — 
United Projector and Film Corp., 228 
Franklin Street, Buffalo, New York. 

weekly list of approved films for what 
is known as "Family nights" in the down- 
town and neighborhood picture houses of 
the city. No doubt many Kansas City 
families have learned to rely upon these 
approvals and feel no hesitancy in sending 
their children to these special family night 

Back of these lists, which include some- 
times as many as fifteen or more films, and 
uhich take up only a small space, lies a 
tremendous work by a group of women of 
the Kansas City Parent-Teacher Associa- 
tion, known as the Better Films committee. 

The committee comprises forty-two wo- 
men who work every day of the week 
except Sunday in their endeavor to select 
the best motion pictures that can be found 
for adults and children. Winter and sum- 
mer members of the committee may be 
found either at the censor's office or in 
the private exhibition rooms of the down- 
town theatres or the film exchanges re- 
viewing the new releases. 

"If we don't -like a film we just leave 
it," Mrs. E. M. Metcalf, chairman of the 
committee, says, "We don't go really to 
criticise, but to choose the cream of what 
they have to give us. Then we boost 
it to the members of our seventy-one 
parent-teacher circles and everybody we 

"On each Tuesday some of the com- 
mittee calls the various exhibitors to find 
what they have booked for the next Fri- 
day night. We then refer to our files, 
wherein individual reports on each film 
ever viewed is kept. If it has been ap- 
proved, then the theatre is marked as a 
family night theatre and the list given for 
publication to the press." 

From September 1, 1925, to January 1, 
1926, the parent-teacher women saw 147 
pictures. Ninety-five of these were ap- 
proved for family night showing. During 
the year 1925, 580 pictures were viewed. 
Two hundred and thirty-four of these 
made the approved list. 


November 7th— 13th 

FALL days mean a turninj^- from out-of-doors to 
indoor entertainment, and chief among in- 
door entertainment in cities, towns and villages is 
reading books and seeing motion pictures. 

Consequently Motion Picture Book Week, a time 
set aside for special attention to books and films, as 
they are related, is most appropriate in November. 

Better Films committees, libraries, schools, book- 
stores and all motion picture lovers can help to link 
their communities in a widespread motion picture 
and book tie-up on these days. 

American Education Week and Book W^eek come 
upon the same dates, making a concentrated book- 
film week of general interest. 

If your community is among the wide awake ones, 
a Motion Picture Book Week is an assured success in 
your town. 

Selected Book-Films, Fall 1926 (see page 11) 
tells you of all the selected pictures available for 

Your observance will have interest in it for 
other groups, therefore the Better Films National 
Council asks vou to send to the National Board of 
Review Magazine the story of your "week". 

National Board of Review of Motion Pictures 

70 Fifth Avenue, New York City 




(Co;»Whj«(7 "Exceptional Photoplays," "'I'ilni Pruyiesb luid "Monthly Photoplay Guide ) 

Vol. I, No. 6. 

November, 1926 

The Proof of the Pudding 

— ♦ — • 

The Motion Picture Moves On 


First Thoughts on 

Masters of 


Published monthly by tne 

National Board of Review of Motion Pictures 

[) cents a copy 


Established by The People's Institute in 1909 
70 Fifth Avenue, Nev^' York, N. Y. 

S2.00 a year 


Twelfth Annual Luncheon ^ 

^ Contents 

Third Better Films Conference 



November 1926 


hold its Twelfth Annual Luncheon on Satur- 

day, January 29th, 1927, in the Waldorf- 

Astoria I lotel. 

Tlic Proof of tlie Pudding, Editorial 

Already reservations for the luncheon are 

Alfred B. Kutliier 


being made hy those who have attended 

First Thoughts on Potemkin 

previous annual affairs ot the National 

IV. A. B. 


Board and eacii year look forward with keen 

The Gorilla Hunt 


pleasure to the interesting jirogram wiiich 

The Motion Picture Moves On 

always includes the presentation of some ot 

Mordaunt Hall 


the most popular screen stars, with ad- 

Masters of Laughter 

dresses by men and women prominent with- 

Christine Hamilton 


in and without the motion picture industry. 

The Better Hlms National Council (for- 

Excefitiunal Photoplays 

merly the National Committee for Better 
Films) of the Board will hold its Third An- 
nual Better Films Conference 'Thursday and 
Friday, January 27th-28th, preceding the 
Annual Luncheon. 




Sorrows of Satan ^. 


•Micliael StrogoflF . 

So's ^'our Old Man 

So successful were the conferences last 

year and the year before that it was decided 
to continue them, for the next year or two 

Selected Pictures Guide 16-18 

at least, as annual events. 


An interesting program is being arranged. 

As a featured number, it is planned to pre- 
sent to the conference delegates "Thirty 

Hardelys the Magnificent Quarter-B.ick 
The Buckeroo Kid Red Hot Hoofs 

Years of Motion Pictures" as told by the 

The F'.igle of the Sea Timid Terror 

films. This is an important visualization of 

London True Blue 

the startling development of the motion pic- 

The Magician _ War Paint 

ture from its beginning. .\I1 those interested 

The Prince of Tempters Whispering Wires 

in the screen as an art and a social force will 
find this assemblage of j5ictures In historical 

Non-Feature Subjects 

sequence of exceptional value. 

As We Forgive The Mona Lisa 

Representative people from many states 

Be Prepared Our Common Enemy 

have expressed their intention of participat- 

Durable Souls Pathe Reviews No. 43-49 

ing in the Conference discussions. Out-ot- 

Future Greats Scouting With Dan Beard 

town guests will remain tor the Annual 

Great Lakes Singing and Stinging 

Luncheon on Satunlay. 

Hooks and Holidays Spanish Holiday 

Reservations for the Conference, as well 
as the Luncheon — the two main events of the 

Maryland, My Maryland Top Notchers 
Molders of IVLanhood With the Wind 

National Board of Review's 1927 Winter 
season are now in order. 

Short Comedies 

.All those interested in complete plans for 
the Conference are cordially requested to 

(n't 'Km ^'oung Napoleon, Jr. 

The Last Lap Now You Tell One 

communicate with the Better Films National 

Council of the National Board of Review. 

llianksgiving Pictures 


Address: 7(1 Fifth A\cnuc, New York Citv. | 
C<,t>yn<i>it 1026, The yali'iiKil B' 

jj Better Films Activities 


lard of Renew of Motion Pictures 



National Board of Review Magazine 

I>R. William H. Tower, Chairman 
llR. MvKtiN T. ScunDER, Tieastirfr 


Eilwartt A. Moree 

Walter W. Pc-tit 

Mrs. Miriam Sutro Price 

Dr. Myron T. Scudcler 

Dr. Albert T. Shicls 

r>r. William B. Tower 

ileorge J. Zehriing 

70 Fifth .\vcinic, Now "N'ork Cily 
I'lihlishcd Monthly 


Wilton A. Barrett, 

Executive Secretary 
Ruth Rich 
Alfred B. Kuttner 
Frances C. Barrett 
Rettina Gu.nczy 

Volume I. Xiiml)er 6 

November, 1926 


a copy. $2.00 :i 

The Proof of the Pudding 


THE pitfall of the art enthusiast is to lose his 
sense of proportion, ruthlessly to sacrifice the 
practical at the altar of art. But in this work- 
aday world the slogan "all for art and your purse 
well lost'' will not do for the very good reason that 
every art has its practical side. Behind the writer 
there is always the publisher, behind the painter there 
is the dealer, behind the dramatist looms the pro- 

This has always been the Achilles heel by which 
riie practical picture man has been able to attack the 
plea for artistic pictures. In the picture field the 
practical, financial consideration is especially cogent. 
Tlie expense of making, exploiting and marketing 
a single picture is so great that it really amounts to 
a small fortune. Every picture must return both in- 
itial and secondary investment before it can earn any- 
thing for those who made it. The only way it can 
do this is to collect admission money from a sufficient 
number of people. That usually means an audience 
of a million or more. 

The problem has frequently been compared to the 
similar situation which obtains in the popular maga- 
zine field. These magazines sell their advertising 
space on the basis of their circulation. For this they 
need fiction of sure popular appeal, written according 
to a slightly varying formula. They will never pub- 
lish the type of story appearing in some of our higher 
class magazines of more limited circulation, no mat- 
ter how good it is. They cannot afford to. 

Until recently this practical deadlock has always 
effectively squelched every appeal to the producer to 
make more artistic pictures. In the other arts the 
deadlock was never so complete. The writer could 
often publish privately, the painter could sometimes 
find a disinterested patron instead of a dealer, the 
experimental tlramatist could and effectively did ap- 
peal to a smaller audience. But with pictures involv- 
ing fortunes which in turn necessitate national re- 
leases, the artistic goose remained permanently 

The only promising line of solution, it seemed 

to us, was a Little Photoplay Theatre movement on 
the analogy of what the Theatre Guild and other or- 
ganizations throughout the country had accomplished 
for the advancement of the stage. This idea has 
been the offspring and the favorite child of this maga- 
zine, and its predecessors, for a number of years. We 
Iiave urged it fervently and persistently. Until about 
six months ago, however, the idea was still academic, 
our child was only a dream child. 

For. the idea had not been susceptible to a practical 
test. Individual showings at Town Hall in New 
York and under the auspices of Better Films groups 
in other cities were indeed straws to show that a 
breeze was blowing. Mr. Gould's success at the 
Cameo Theatre in New York, however, has demon- 
strated the practicability of the idea in the special 
small commercial picture house, and opens up new 
possibilities to the exhibitor who wants to show what 
has been called the film-art picture but cannot do so 
in the large feature program house, where the appeal 
from the screen must always be a popular one. 

Now comes along Mr. Eric T. Clarke, General 
Manager of the great Eastman Theatre in Rochester, 
New York, who most cogently points out in an ad- 
dress delivered recently before the Society of Motion 
Picture Engineers, the rights of the popular screen, 
the justification of the exhibitor in confining his ex- 
hibition to the big feature and program type of pro- 
duction, the dilemma the film-arts picture finds itself 
in, and, as far as it is concerned, the way out. Mr. 
Clarke says, quoting his paper as printed in FILM 


"Every theater has its regular patrons. 
It is the job of every theatre to make those 
patrons want to come every week and to 
satisfy them once they are in. A theatre 
like the Eastman has an additional job. It 
should try to lead its audiences to the appre- 
ciation of better things. Now this is a mat- 
ter to be done with the greatest care. Not 
one of us likes to be preached at, and our 
resentment can turn to indignation if we 
think we are being preached at when we 

National Board of Rfrieu' Magazine 

have paid our frood money to be enter- 
tained. In the theater business it is hard 
to distinguish indignation from hick, of in- 
terest. The trouble is that indignation and 
lack of interest take the same form — people 
stay awav. 

"We, like every other large theatre are 
organized to please the big public. Com- 
pare, if you like, the business today with 
current literature. It is clear that we are in 
a class with the Saturday Evening Post and 
not with publications appealing to limited 
circulation. Tlie Eastman plays to over 
2,000,000 people a year, and our problem 
is the same as with the Post which sells 
• over 2,000,000 copies a week. Iftheshovv- 
ing of an artistic picture means loss of busi- 
ness, its showing at our house cannot be 
justified. To cater to the tastes of the few 
while the many stay away is fundamentally 
wrong. We owe weekly entertainment to 
our steady movie going public and the es- 
sential quality of audience appeal must be 
the foundation of any show we may ar- 
range. To this extent Box Office is King. 
"Where, then, and how, is our public to 
be led to appreciate the better things in 
films? Only by greater sublety and artistry 
in the pictures which our public will anyhow 
want to see. Nobody will deny that this 
is taking place; that pictures are improving 
in their quality and art. Many pictures 
with artistic appeal will today succeed 
where a ftw years ago they would have 
failed. The progress is sure but slow. You 
cannot suddenly get people to appreciate 
better art. It has taken four years for our 
theatre to establish any liking for the quiet 
dignified show which most other houses 
would class as lacking in punch and box of- 
fice appeal. But it is no less true that it is 
by the very pictures of limited appeal that 
the box ofiice successes become more artis- 
tic. The picture made in disregard of the 
box ofiice may fail, but if it has artistic 
merit it will leave its mark on the box ofiice 
product of the future. It need not neces- 
sarily be a box ofiice failure to be influen- 
Mr. Clarke now comes to the gist of the matter. 
Speaking of such films as Moana, Grass, The Last 
Laugh, Alaskan Adventures, he asks: 

''What about them? Are they not to 
have a showing? The answer is. Yes, but 
it should not be in houses like the Eastman. 
Certainly there is great credit due 
to the producers who have made them and 
the distributors who have put them out, 
and it is our duty to get an adequate show- 
ing for them, e\-en though they are obvi- 
ously not Saturday Evening Post pictures. 

"My point is that it is up to exhibitors to 

organize special houses for showing these 
pictures of limited appeal. Let us divorce 
our big appeal business from our limited ap- 
peal business. Publishing houses iia\e done 
this and so must we." 
Mr. Clarke thus recognizes that there are limited 
appeal pictures and, more important still, that there 
is a limited audience which shattUl be supplied with 
them. I le proposes that tiiis must be done — by the 
organization of sf>ecial houses. The director of one 
of the greatest picture theatres in America has be- 
come spokesman for the Little Photoplay Theatre. 
Mr. Clarke knows it is coming, indeed that it is here. 
He says that there lias been created a limited appeal 

Right. Mr. Clarke. The big work now is to help 
develop this limited appeal business by building 
up the Little Photoplay Theatre's audiences. Gone 
about cooperatively, that would be the greatest 
timely service possible to undertake — a service to 
the whole motion picture industry as well as to that 
part of the public still unreached whose support the 
makers and distributors and exhibitors of fine pic- 
tures should have. A service, in brief, of the utmost 
importance to the art of the motion picture in Ameri- 
ca — and everywhere else. Alfri.d B. Kuttxer. 

The Fifth Avenue Playhouse 

THE opening of the FIFTH AVKNli: TL.W- 
iiousE at No. 66 marks another step in 
the movement to present artistic pictures for 
those people who want to see them. No others need 
apply. P'or, as the negro minister said about heaven, 
going there is not compulsory. Until recently the 
compulsion was the other way around; because every 
Tom, Dick and Harry did not want to see these pic- 
tures every other Tom, Dick and Harry had to re- 
sign himself to not seeing them. 

But now it simply remains for you to exercise 
your choice. And so the fifth avente PLAY- 
HOUSE, with its intimate air, its hospitable lounge 
and its apparently sincere endeavor not to take 
the name of art in vain, becomes a direct chal- 
lenge to all those who have been crying out loud for 
an opportunity to see or see again pictures that really 
feed the higher imagination and stir hearts not too 
readily worn upon the sleeve. 

Mr. Joseph R. Fliesler has selected The Cabinet 
of Dr. Caliciari for his first presentation. It is hard 
to see how his choice could be improved. After five 
years this picture not only remains astonishingly fresh 
but proves Its parentage to many technical innova- 
tions adapted to films of the more recent artistic crop. 

All in all it remains as perhaps the most com- 
pletely artistic picture which the camera has as yet 
produced. I'xtended comment on Dr. Caliyari must 
be reserved for our next issue. 

November, Nineteen Tuenty-six 

First Thoughts on Potemkin 

SOMETIME in 1905 there was a mutiny on board 
the Russian armored cruiser Potemkin. The 
crew, having been steadily rationed on bad meat, pro- 
tested to the officers but without effect. Tlieir resent- 
ment due to this treatment growing, they refused to 
eat tile meat. \'iolence on tlieir part tlireatened, and 
the commander of the ship ordered a number ot the 
crew to be executed. This resulted in a general re- 
volt and slaughterous attack, on the officers by the 
maddened men, who then assumed command and 
brought the ship into the harbor of Odessa. 

When news as to the cause and outcome of the mu- 
tiny reached shore, where the body of the mutineers' 
leader was brought for burial, a sympathetic spark 
of revolution was fired among the inhabitants of the 
town, who revitualed the cruiser and joined, high and 
low, at the harbor side, in a demonstration of ap- 
proval of the crew's action. For this act they were 
massacred by the Czar's Cossack Guard. The Po- 
temkin's crew then put to sea, escaping the Czar's 
fleet, perhaps by some connivance on the part of their 
brother seamen on board the other vessels, and later 
interned their ship in a neutral port. They were 
promised immunity at the hands of the Czar by the 
Navy Department if they would return to Russia. 
Acting in good faith, they did so. Whereupon their 
leaders were sentenced and executed, and the rest 
sent into Siberia. 

The history of this incident has now been recorded 

»in a motion picture by the Moscow Art Theatre play- 
ers, presumably with the cooperation of the present 
Russian government and its Navy Department. It is 
said that each step of the production follows facts as 
established in official documentary evidence long hid- 
den in the archives of the defunct government and 
recently brought to light, and that therefore the film 
is an exact cinematic re-creation of what really hap- 

Whether or not the above is entirely correct. The 
Cruise of the Battleship Potemkin, to call the film by 
its full and provocative name, bears the stamp of 
siimething that is actually occurring before our eyes, 
as if the screen on which it is projected were a square 
hole through which we looked at human events in 
'. the making — at the whole phenomenon, as it were, of 
man's thought and will to be free taking fire under re- 
pression at an infinitesimal central point and spread- 
ing conflagration to the great human mass, so that we 
not only understand what the spirit of revolution is, 
but see it being set in motion and that motion ex- 
plained through a visual impact of all the facts as they 
happened as well as of the passions at the roots of the 
facts before happening. Reality as it swiftly occurs 
appears to have been caught and photographed, and 

likewise Its foundation, in this regard no other mo- 
tion picture but the news reel has approached Potem- 
kin, and the film leads us to a reconsitleration of the 
cinema as an art anil to a new evaluation of its archi- 

We seem to remember someone once saying that the 
art of the motion picture resided in the news reel. That 
is, that the immediacy of the news reel to the subject 
presented, with its fast cutting from shot to shot over 
territory covered, applied more carefully, selectively, 
and rapidly so as to gather up all the essential facts 
of reality and fix embracingly and swiftly the atten- 
tion upon tliem would provide a result analogous to 
creation itself, and that this method carried on to 
themes of the creative imagination would be the 
artist's use of motion pictures as an expressive medi- 
um. The probability of this being true comes to us 
strongly in looking at this remarkable Russian film 
and afterwards pondering over why it affects us as 
it does. 

Let us take one characteristic sequence of its action 
for illustration, that in which the congregated people 
of Odessa are murdered by the soldiers. 

Here we see the populace standing massed on 
the long, seried flights of white steps leading down 
from the town to the quay, and waving to the crew 
on the ship. 

The camera passes swiftly, picking up this group 
and that — friends and strangers mingled, whole fam- 
ilies, men, women; children, babies in their carriages, 
the prosperous and the poor, fine ladies in holiday 
dress and women from the hovels in shawls, men of 
business, idlers, working men and sailors from the 
water-side — the characteristic conglomerate mass of a 
city's dwellers, talking, laughing, looking, jostling for 
a better view, on their eager faces anci in their atti- 
tudes various motives and emotions expressed — curi- 
osity, sympathy, hope, intenseness — a revolutionary 
crowd touched by something up the wind, gathered 
together by the message of rebellion, of the over- 
throw of long oppression felt by everyone there, 
borne into It from the grim ship lying at anchor in 
the harbor just beyond. Something terrible in this 
crowd, something pathetic, something instantly hu- 
man and absolutely real, nothing staged. Yes, the 
work of the news reel cameraman sent to cover a 
great public happening. If one thinks at the moment, 
one certainly says it is his work; he has been very 
busy with his box and tripod scurrying rapidly around. 
He has done a great job, he has gotten everything 
that It is important and right to get. 

High on the steps, descending slowly In long, even 
lines, suddenly appear the soldiers In their white, im- 
maculate tunics, splendid tall fellows, loading their 

National Board of Re 


rifles as they come. Every now and then tlie hnes 
stop, Hre, reload, descend again — nothinji; hurricti, 
still nothing staged. And tiie steps before them, 
sv, ept by that cold, easual rifle fire ! A terror-stricken, 
bullet-stricken multitmle, shorn in a breath of all 
enthusiasm all revolutionary fire, resubmitting to the 
old tyranny — a mob stumbling, falling, dodging, lying 
flat, rising again, pitching, huddling still, dwindling, 
fleeing, fleeing down those terrible, unescapable, ever- 
lasting steps, pursued grotesquely, almost humorous- 
Iv. by a bumping baby carriage bearing its unwitting 
infant, which has broken away from the mother's 
dying grasp. Most of this has been done by a swift, 
flickering assortment and throwing together of little 
pieces of pictures, a face here, a slipping body there, 
a flopping arm or leg, a pair of eye-glasses, a bit of 
torn clothing, a shuddering group or a convulsive 
body, as if the camera were dancing down the steps in 
that dance of death — as if the news reel cameraman 
were running about madly, stumbling and falling liim- 
self at times, but ever busy with his crank. Nothing 
approaching the reality of these scenes has ever oc- 
curred in cinematics before. It is superb "motion 
picture" — the medium is disclosed as being separate 
and distinct, words cannot do it; the photograph of 
an actual massacre, yes — the photograph of a tragic 

happening, yes, like that shot taken in Paris of the 
man who jumped from the Eiffel Tower with a bat- 
winged paracliutc which crumpled and let him plunge, 
a fluttering shape down the depth of the screen; like 
some authentic shots of men being killed in trenches 
under fire taken in the war, shots made by the news 
reel, and his military brother, the signal corps, cam- 

Yet this tiling in Potemkin — and the same tech- 
nique is seen everywhere else in the film — has been 
manipulated, gauged and directed. Perhaps the finest 
art yeT put upon the screen has resulted, an art in its 
effect swifter, more inclusive, more accurate and ab- 
solute and directly expressive than the effect to be 
liad from the sense of seeing itself. Is the art of the 
motion picture then, precisely this seeing of things tor 
us beyond our own power of sight? Is it a synthisis 
of selected observations through the eye of the cam- 
era? Is it the director's function to study only reality 
in substance, form and movement and then reproduce 
its essentials for us? And is it the cameraman's busi- 
ness — the business of a very busy cameraman who 
will scurry about with great speed — to record the 
result as news? Potemkin seems to tell us so. 

W. A. B. 

The Gorilla Hunt 

MR. BEN BURBRIDGE'S Gorilla hunting ex- 
pedition into the heart of the African jungle is 
an exceptional nature picture of the first order, tak- 
ing rank with Rainey's African Hunt, the various 
expeditions of Martin Johnson and the Snow Broth- 
ers, the camera explorations of New Guinea and 
Brazil, and various other records of Intrepid ven- 
tures Into unknown tropical regions In the interest of 
the zoologist and the anthropologist. 

Since the advent of the motion picture camera 
these expeditions are no longer the privilege of the 
iew. They immediately become the vicarious experi- 
ence of millions; the same generation which In its 
youth thrilled at the reading of the exploits of Stan- 
ley and Eivlngstone can now actually see similar glori- 
ous adventurlngs. In this field surely the camera is 
mightier than the pen. 

The object of Mr. Burbrldge's expedition was to 
get several specimens of the elusive Gorilla for the 
Belgian natural history museums and for the Smith- 
sonian Institute and if possible to capture some of 
them alive. To do this it was necessary to traverse 
the Belgian Congo by river and trail and to pass 
through the territory of various primitive tribes in- 
cluding cannibals and the dangerous pygmies with 
their poison arrow ideas of hospitality. 

This part of the picture Is rich in anthropological 
data about these tribes, the records of their native 
customs and dance ceremonies and their e\er Instruc- 
tive attitude towards the gift and gun bearing white 
stranger. There are also various hunting episodes 
including a Hon hunt and the shooting of an elephant 
whose carcass the hungry cannibals strips to the bone 
with astonishing speed and skill, much the way a 
colony of ants will dispose of a dead field mouse. 
Tills is an extraortiinary sight, a carnal orgy if there 
ever was one. 

When the expedition arrived in the gorilla coun- 
try it was confronted by the most difficult camera 
conditions. The high, misty climate and the dense 
iungle combined with the camera shyness of tlie goril- 
la w'ere formidable obstacles. But tlie gorilla is also 
possessed of a strangely human curiosity. This was 
played upon and the usual process of animal hunting 
was reversed by making as much noise as possible to 
attract the quarry. Soon the gorillas began to appear 
and a rush for a female gorilla and her offspring 
yielded a catch of four young ones. 

Now, however, the enraged male advanced, pre- 
pared to give battle. Mr. Burbrldge's shooting of 
this monster was a real thrill skillfully caught by the 
(Continued on page 12) 

Novemher, Nineteen Tlventy-slx 

The Motion Picture Moves On 

Screen Critic of the New York Times 

THAT precocious youngster, the Motion Pic- 
ture, has succeeded in attracting rather more 
than iiis share of attention since he started 
cutting up — sewing his wild oats before he was able 
to toddle. He is a child of Brobdingnagian propor- 
tions, his head being about the size of a screen close- 
up, and one can alrrtost fancy him winking slyly at his 
nurse. He hates the censor and is jealous of his half 
brothers, the Stage, the Novel and Painting. They 
can have their "Rains," their "Shanghai Gestures," 
their "Sweet Peppers" and "Green Hats" and the 
■'Altogether", while he, poor child, has to be very 
careful how he tells the world that some young wo- 
man he knows has had an illegitimate child. 

Getting down to the much-used brass tacks, let me 
sympathize with the motion picture. It has been 
flayed by nearly everybody, including those who find 
it a good way to spend an evening. Films are blamed 
for crimes and for the alleged increase in morons. 
Quite a number of those who talk on motion pictures 
and hope to elevate them rarely go to the cinema. 
It happens to be something easy to speak on, and 
sometimes without knowing the great strides made in 
pictures or the work involved in producing a film 
story, these persons offer suggestions that are far 
from helpful. 

There are, it is true, far too many poor pictures, 
and those responsible for this low level of pictorial 
entertainment happen to be the persons who pay in 
their money at the box office. They go to the picture 
theatre to be entertained and when a man falls down 
in a pool of mud it makes them laugh. A pie tossed 
across a room into the face of a character is sure-fire 
comedy to these same people, the majority of whom 
would find The Last Laugh rather tedious. 

The producer is in the picture game as a business, 
not to make it an art. If the public would patronize 
artistic films, he would endeavor to make them, hut 
he can't be blamed for being unwilling to risk $300,- 
000 or $500,000 just to have an academy ribbon 
pinned on his coat lapel. The board of directors of a 
big motion picture company is not singularly eager 
to learn of a great artistic success that causes them 
to lose money. They want dividends from the pic- 
ture industry just as they do from railroads. 

Producers have, however, a great chance to im- 
prove their productions without reducing their box- 
office value. Robert Nichols, the English poet, who 
spent a year In Holl>nvood working most of the time 
with Douglas Fairbanks, said, in the course of an in- 

terview I had with him, that the picture makers ought 
now to look into the hearts and minds of people and 
picture what they see. He also said that a scenario 
could be written by walking down a crowded thor- 
oughfare, say Forty-second Street, with one eye 
closed and cotton wool in both ears. Natural char- 
acterizations are needed on the screen; real human 
actions and emotions without extravagances are the 
telling points of a good picture. It has often been 
said that the most difficult thing for a good actor to 
do was to appear natural and easy, hence it can be 
imagined that if it is difficult to act naturally on the 
stage, it is far more difficult to do so for the screen. 
The camera has an infernally inquisitive eye, keen 
enough in an ordinary photograph, but when the re- 
sult is magnified on the screen a half-lowered eye-lid 
can give reams of information. Every effort is made 
to obtain realistic effects in scenery and therefore this 
should be coupled with true-to-life actions and expres- 
sions. The old tragedian's style is ridiculous on the 
stage, but, as ampHfied on the screen, it is pathetic. 

The true delineation of a character can only be ac- 
complished by the actor knowing his part thoroughly. 
Stage players have to learn their lines and analyze 
every mood of the character. They must submerge 
their own personalities in the role. Sometimes the 
screen players know nothing of the plot of the story 
let alone anything of the characters they are to Im- 
personate. There are times when a player makes a 
half-hearted stab at characterization, but he often 
spoils the effect by his fear that his public will not like 
him In the part unless he gives the role a good deal of 
himself. Hence the characterization Is a luke-warm 
thing, 75 per cent the actor and 25 per cent the char- 
acter. The public should be forgotten in the studying 
of a part. Good work invariably tells In the end. 

Another failing of the screen is the fact that char- 
acters often have to seem deaf until they are called 
upon by the director to hear. It Is all very well to 
have stage asides before the footlights, but on the 
screen it should be remembered again that one is deal- 
ing with realism, and therefore if a character walks 
along a gravel path it stands to reason he can be 
heard before he looks over the girl's shoulder. Then, 
too, if a man enters a room, one should always figure 
that perhaps 'this person could be seen by the occu- 
pant of the room out of the corner of his or her eye. 

These failings arc not only observed by critics, but 
by the stenographer and the shop girl who go to pic- 
tures, for there is in everybody a feeling that it would 
be extremely unlikely that a door could be opened in 

National Board of Revieii- Magazine 

an average sized room without causing the person 
already inside to hear it immediately and even though 
he or she were actually deaf there is such a thing as 
seeing out of the corner of one's eye. 

It was that skilful German director, Lubitsch, who 
had the audacity to picture a rain shower as it hap- 
pens in evcry-day life. He did this in Kiss Me 
Jgain, and the mere fact that he liad not called for 
a deluge of water, not only scored a point with the 
highbrows, but it affected all the spectators. Lubitsch 
had a man looking up at the sky because he felt a 
drop of rain, and just a drop or two was depicted on 
the sidewalk. The man opened his umbrella and tlie 
shower increased a little, but it never poured down 
as one is accustomed to see it in the majority of films. 

MANY directors are apt to introduce their 
comedy situations to create laughter, with- 
out thinking whether these situations actually 
belong to tlie story. Comedy should come along nat- 
urally, and in many instances when it is not boister- 
ously funny it is all the more effective for being a nat- 
ural part of the yarn. It is all very well to have gags 
and so forth in farces, but in comedy dramas one longs 
for lighter and keener fun. A situation may not 
be as hilarious as a man losing his trousers, but the 
characters in a particular story should become known 
to the audience and consequently a milder type of 
comedy strikes home with a rapier-like effect. 

Most photoplays are put on without much atten- 
tion to human psychology and, because they have 
made money, the producers declare that these efforts 
are what the public wants. Possibly some of these 
films would have made as much money, and perhaps 
more, had they been presented with skill and a true 
reflection of human nature. The screen is very prone 
to copy itself rather than real life. What has gone 
before has been satisfactory and therefore the di- 
rector, the scenarist and the players, sometimes even 
without knowing it, instead of depicting things in a 
natural way, imitate the work in previous shadow- 
productions, irrespective of whether it belongs to that 
particular story or not. 

Producers often tell me tliat a picture praised 
unanimously by the critics is invariably a financial flop 
and that one that comes in for adverse reviews is a 
howling box-ofTice success. Sometimes this is quite 
true, but on Monday morning, or any morning after 
the presentation of a film, I don't think that many 
producers hope to read that their film efforts are dis- 
approved of by the newspaper writers. These same 
men who have thus argued have been the first to write 
and thank me for high praise of a picture. They not 
only are satisfied, but they begin to feel that the pic- 
ture is worth more money than they anticipated. Of 
course there are the surprises of the industry, and in 
this connection I miglit mention that the two produc- 

tions that are mopping up the sheckels all over the 
country, proving greater money-makers than any 
other films, are The Cohens and the Kelleys and 
Behind the Front. It is also true that one of the 
finest pictures made by James Cruze — The Beggar 
on Horseback — was a dismal failure, possibly due 
to the fact that the public in the wide-open spaces die? 
not appreciate satire. Another excellent piece of 
work that was by no means a financial success, was 
The Dramatic Life of .Ibraliam Lincoln. 

The public, it has been proven, wants a clean pic- 
ture. It may put up with a certain amount of slap- 
stick and mediocre stuff because of some particular 
player in the cast, but the film that scores the greatest 
success usually is a worthy, sane effort devoid of any 
vulgarity or coarseness. To support this idea let me 
call attention to The Covered IVagon. The Big 
Parade, and Bean Geste, which are now world- 
renowned. Douglas Fairbanks never introduces 
a note that is at all suggestive, and even though 
Charlie Chaplin occasionally indulges in a stretch of 
low comedy, it is put in with a side issue of pathos. 
And in his pictures it is his sound knowledge of hu- 
man psychology that counts- Take Chaplin's Gold 
Rush, and you will find in this comedy the hopes, the 
joys and disappointments of life. Chaplin delights 
in picturing tenderness, and whatever farcical ex- 
travagances there were in The Gold Rush, there 
was always something back of them. Harold Lloyd, 
posibly the most affluent of all screen comedians, al- 
ways avoids any gag that is unpleasant. 

THOSE who talk about improving motion pic- 
tures should also remember that it is very rare 
that any film is started with the first or open- 
ing scene. The director has to jump from one se- 
quence to another and he may finish his picture with 
the initial scene. This not only makes it more diffi- 
cult for the director but also for the players, who may 
he called upon to portray a happy mood not so very 
long after depicting the tragic occurrences of the 
photoplay, which come in the subsequent chapters of 
the story. Think of an author, who after all has not 
an unwieldy tiling like a picture with which to deal, 
beginning his novel in the middle, then going to the 
third chapter, then to the last and finally winding up 
by writing the first stages of his story! 

John Robertson, in a picture called, Spanish Jade, 
made his exteriors in Spain and his interiors in a 
London studio. Hence a character who started in 
Seville to enter a house did not really appear inside 
until three months afterward. 

It is relatively easy to criticise shortcomings in a 

picture when the production is screened in full, but 

one must remember the big job of making the effort, 

when the director is only able to see a few snatches 

(Continued on page 18) 

Nort rnbcr. Xiiuti 


Exceptional Photoplays 

I-(11'1SE IIacknev 
Harrist Mknken 
Edward A. Muree 
Frances T. Patterson 
1. K. Pal'ldini: 
U'alter a. Pettit 
M. K. Werner 

A dclKtrtiiiciit tlcvotcd lo an inil'artial critique of the best in current (ihotoplay 
l^roduction. Each f'icture before t'eiiui listed, is thorouf/hly discussed hy a volunteer 
committee eomf'osed of trained critics of literature, the stage and the screen, zi-ho 
are the slfonsors of this del>artnienl. The /triuted rcTii-ii's represent the condnned 
c.vfression of this coinniittee's opinions. The rez'ietcs aim to convey an accurate 
idea of the films treated, inentioninc/ both their excellencies and defects, in order to 
assist the spectator lo viezc the productions zfilh increased interest, appreciation and 
discrimination. The revietvs further try to bring to the attention of the reader of 
special tastes or iuleresls. or of sezvrely limited time for recreation, those photo- 
plays ti'hich genuinely contribute to the art of the screen. 







Directed by F. If. M union 

Photoyrapheci by Ctirl llofjiiian 

The Cast 

Faust Gosta Ekiiian 

Mephistopheles Emit JanniiKjs 

Martjuerita Camilla Horn 

Martha Yvette Guilbert 

I'aUnline irHhelin Iterlc 

THE much heralded UFA Faitsi with Kmil Jan- 
niiigs in the role of Mephisto, hitherto peeped 
at only by the lucky few, is at last to be released 
lo the general public. The modern magic of the pic- 
ture studio has used a subtler alchemy than any in 
which Faust himself ever delved, to re-fashion an old 
story of human striving in which man's eternal con- 
llict between good and evil and the tragedy of love 
given and abused have been unforgetably told by 
Niarlowe, the one man of Shakespeare's time who 
might have rivalled him, and by Goethe, the only 
modern fit to walk in Shakespeare's company. 

The picture gets off to a glorious start in the collo- 
quy in heaven between the Archangel and Mephisto 
and the wager laid upon Faust's soul. The camera 
lifts us trulv into the empyrean, where the flurry of 
wings, the blinding flashes of light, and the movement 
of shadows and clouds giv'e us the sense of floating 
in space and of being disembodied spectators. Here 
camera satisfaction is complete whether we marvel at 
i: technically or whether we appreciate it only naively 
in its effect as our enchanted eye is prepared to follow 
so intriguing a plot launched by an angel given to 
betting and the father of gamblers. 

Equally impressive is Satan's first visit to the town 
where Faust lives and works. He appears like a huge 
black cloud in the silhouette of a winged demon, bear- 
ing the dark curse of the black plague. As this plague 
rr.vages the town, the desperate people turn for aid 
to the good Dr. Faustus, renowned for his scientific 
researches and his good w'orks. Here it is made to 
appear that Faust turns from God to seek the aid 

of the De\il alter he has \ainly implored God to re- 
veal tiie medical secret to cure the plague. This is a 
departure from the more philosophical revolt of 
Goethe's Faust but it has gooil story value and leads 
to a series of astonishing shots and sequences where 
the camera rivals the pencil of a Duerer and creates 
an atmosphere of religious mysticism. The town, sug- 
gested at times by just one quaintly crooked street 
or again by a vista of innumerable steep gables, is 
photographed with all the resourcefulness of cunning 
camera angles and tricky perspectives which we have 
become accustomed to expect from the German cam- 
era artists. 

When the almost patriarchal Faust, with flowing 
beard and hair, repairs to a windy, desolate heath 
such as Macbeth's witches would have relished for 
their unsavory disportings, we are again confronted 
by a sequence so far approached only by Benjamin 
Christensen in his unforgetable picture of mediaeval 
sorcery called The If'itcli*, which some of us w'ere 
privileged to see several years ago. Faust, standing 
like Michael Angelo's Moses with the wind beating 
against him and encircled by a ring of flames, is a 
truly impressive figure. The whole scene is alive 
with the suggestion of evil forces; one feels that the 
wind is really a demon's breadth charged with mat- 
ters poisonous to human welfare while the grey, 
murky light enhances the feeling of boding evil. 

Now the bargain is sw'iftly struck, signed with 
Faust's blood, and the Devil proceeds to show his 
wares. We have seen aerial trips on magic carpets 
before, notably in The Thief of Bagdad, but never 
one like this. For here we have a marvelous pano- 
rama in which changing landscapes and many forms 
of natural architecture vary with such dizzying speed 
that the sensation of circling the globe is convincingly 
achieved. This Devil is no ordinary Cook's tourist 
guide. He picks his shots cunningly, showing the cul- 
tured magnificence of ancient civilizations or the bar- 
baric richness of Eastern kingdoms. They appear 
before the eye as if actually photographed by a cam- 

* Formerly known as Do You Believe In Spirits!' See "Exceptional Photo- 
lilays." V'ol. II, No. 2, May, 1922 


era set up on the flying carpet. There is much to 
marvel at here. 

Thus far tlie picture has shown us convincing 
glimpses of high heaven and its intinite spaces, has 
created an authentic atmosphere of evil rampant and 
unrestrained, and has revealed tlie Devil as a sorcerer 
of the first order, a super-director of the pageantry 
of glittering vice and temptations. 

Now we come to the love story of Marguerita and 
Faust, with Faust, restored to beautiful young man- 
hood, unscrupulously wooing a lovely girl, symbol of 
innocence and young love. Here we are confronted 
with an abrupt change of style in the treatment of the 
picture as well as with a recourse to a more naive 
version of the Faust legend. We find ourselves de- 
scending from the masculine version of Marlowe and 
the pliilosophical conception of Goethe to the level 
of the libretto which inspired Gounod to write his 

From now on we have only a beautiful story pret- 
tily told by the camera with many nice gingerbread 
and Christmas tree effects but with few specific cine- 
graphic contributions. The scenic investiture still re- 
mains beautiful but it has lost its dramatic animation. 
The effects are broadened by the humor of Dame 
Martha and of Mephisto who become purely the- 
atrical figures. 

The acting deteriorates even more than the sets 
and the direction. Mephisto cavorts and grimaces in 
low comedian fashion until one almost expects him to 
burst out in an aria. Jannings the great, the mighty 
dominator of all his previous roles, fallen to the level 
of an operatic buffoon! Nor is there much comfort 
to be found in the obese, somewhat effeminate Faust 
of Gosta Ekman. Only Marguerita, played by 
Camilla Horn, shines forth sweetly as the actress 
makes the most, both physically and emotionally, of a 
part almost doomed to a conventional interpretation. 

What has happened? Why this falling off of a 
picture so gloriously begun? Is it perhaps that the 
director was involuntarily paralysed by the tradi- 
tional reverence for the Faust story fostered in Ger- 
many? And yet Faust is just the type of story which 
should have inspired the motion picture artist to a 
consistently different telling in his yet unshackled 

Yet these strictures are relative. Faust is still a 
mighty picture, impressive in a thousand ways, a tale 
well worth seeing by the layman in the friendly dim- 
ness of his particular temple of light and shadow, and 
a mine of inspiration and suggestion to our camera 
m.en and directors. 

{From the Folk Legend of Faiisl ctud Goethe's 
"Faust." .Idafyted by Hans Kyser. Produced by 
Ufa. Distributed by Melro-Goldzvyn-Mayer.) 

National Board of Review Magazine 

The Sorrows of Satan 

Directed by D. JV. Griffith 

Photographed by Hurry Fischbeck 

The Cast 

Prince Liirio de Rimanez -fdolphe Menjou 

Geoffrey Tempest Ricardo Cortez 

Mavis Claire Carol Dempster 

Lady Sybil Lya de Putti 

Amiel Ivan Lebedeff 

Mother Rex Marcia Harris 

Earl of Elton Lawrence D'Orsay 

MR. D. W. GRIFFFFH'S The Sorrozis of 
Satan is a piece of photographic opulence. 
In this morality play brought up to date 
after the fashion of the movies, the veteran director 
has fused all that he has learned from his years of 
camera experience and his study of cinema technique 
in its general progress. The result, from the stand- 
point of slieer picture excellence, marks his biggest 
step forward since the Birth of a Nation and In- 
tolerance. Fmploying camera innovation of the kind 
that has focused critical attention on some of the 
finer foreign films, he sends over shot after shot. The 
pictorial impact is at all times felt — a multiple concus- 
sion of dark and rainy streets and cold-colored gar- 
rets; of impending shapes and silhouettes on aper- 
ture or wall; of interludes of floating, radiant space; 
of soft, high, gorgeous rooms astounding with their 
splendid, far-flung detail or cloying with their packed 
atmosphere of the sweet and sensual. With shadow 
and depth across which plays the shimmering light, 
the effect is achieved — a blended effect of squalor, 
somberness, ornamentation, orgy. With siiift and 
tying up of scenes, slowly but surely a well defined 
pattern is spun, making this one of the best designed 
of Mr. Griflith's films, proclaiming evidence of every 
adroit care on his part to o\-erwhelm the eye with 
beauty while giving us a full measure of the laborious 
Corelli opus of sin and virtue sentimental 
conclusion. Yes, upon this theme, with all the tricks of 
the impressario — or tlie magician — up liis sleeve, Mr. 
Griflith proceeds to pour from a cornucopia-like 
camera images demoniac, deeply human, melo- 
dramatic, tragic, banal, truly moving — pictures prodi- 
gal and fuU-petaled. They fall upon all the long 
length of The Sorrozcs of Satan in a steady photo- 
graphic shower of many tones, glazing its surface with 
their satiny edges. 

This quality of bounty, offered witli a fecundity of 
technical invention unusual even in Mr. GriflSth, 
makes this newest of his films exceptional quite aside 
from its story content. 

(From the novel by Marie Corelli. .hiapted by 
John Russell. Scenario by Forrest II alsey. Produced 
and distributed by Paramount.) 

November, Nineteen Twenty-six 

The Temptress 

Directed by Fred Niblo 

Fhotographed by ,. , 

The Cast 

Elena Greta Garbn 

Alanuel Robledo Antonio Aloreno 

M. Fontenoy Marc MacDermott 

Canterac Lionel Barryniore 

Marquis de Torre Bianca Armand Kaliz 

Manos Diiras Roy D'Arcy 

Piroi'uni Robert Anderson 

Timoteo Francis McDonald 

Rojas Hector I . Sarno 

Celinda / ir</inia Broivn Faire 

THE TEMPTRESS brings Greta Garbo to the 
attention of American audiences as an actress 
of note and unusual beauty. One is almost 
led to say that she is the best bet among the foreign 
feminine stars to reach Hollywood — she has the per- 
sonality and the stuff which should endear her to 
American motion picture fans of intelligence. She is 
not half a minute on the screen before you know her 
for an artist, pliable and lovely. 

This big starring vehicle gives her ample oppor- 
tunity to prove her versatility. It begins by show- 
ing her in Paris as an unhappy wife, who has been 
forced into a liason with a roue, one IVI. Fontenoy, 
through the cupidity and connivance of the husband 
she has ceased to love. Because she has finally re- 
pulsed M. Fontenoy, into whose embraces she has 
thus been forced, he retaliates with a banquet in 
her honor where in a breath he proceeds publicly to 
proclaim their past relations and, with wine glass at 
lip, to topple on the table dead, a la the Baron 
Chevrial. Meantime Elena (Miss Garbo) has met 
a young and gallant lover and given herself to him. 
He (Mr. Antonio Moreno) is naturally shocked at 
this evidence of her duplicity and shame. Indeed he 
refuses to believe that her love for him is a true one, 
repells lier, and flees Paris for the Argentine where 
he is a leader among men in the big open Argentinian 
spaces and, by the same token, engineering head of 
a construction project there to build a great big dam. 
Thither the dangerous lady follows him and with her 
goes also her husband, this reprehensible gentleman 
being, we have neglected to mention, an old friend of 
Robledo, the lover, who, it should be stated in the 
cause of ethical conduct in such matters, was unaware 
of his friend's marital tie with Elena when he first 
met her as a total stranger at a Parisian artist's ball. 
The advent of Elena with her seductive Paris ward- 
robe upon this scene, where all camp workers are 
sweating, love-starved men united in loyal comrade- 
ship for the one great purpose of building the dam. 
creates an explosive situation and the job immediately 
starts to go to pot. For the men all fall in love with 


her. But licr engineer lover will not weaken, al- 
though he wants to. Very soon the husband is shot 
by a desperado, Manos Duras, leader of a bandit 
band bent on harassing the dam workers, who also has 
succumbed to Elena's charms, the bullet, however, 
being really intended for Robledo, he having given 
this white-fanged villian a terrible beating in a flog- 
ging match — a particular form of dueling, it seems, 
peculiar to the Argentine. In the end the camp goes 
completely to pieces, Robledo's friends won't work 
for him, for each other or for the dam, by reason of 
their jealous love for the charmer in their midst. To 
make matters worse, they start giving fiestas in her 
honor, one of them kills another, and now — the 
cloudburst comes and, helped by the dynamite which 
Manos Duras has planted in revenge, the dam breaks. 
All that night Robledo, rallying his followers, works 
like mad with sticks and stones and sundry sand bags 
to repair the dam. But when the water starts to rush 
through, he nobly dismisses his helpers and alone and 
single handed works on and on. To no avail. Na- 
ture and the villian's dynamite are too much for him. 
The dam completely gives way (here occurs a fine 
pictorial sequence, with huge jagged pieces of con- 
crete crumbling before the rush of water), and Ro- 
bledo is washed floundering through the gully to be 
fished out by his friends. Confronted with the catas- 
trophe, remorse overcomes Elena; she sees what a 
temptress she has been and although her lover, 
weakened and half-drowned as he is, yields his lips 
to hers in final admission that she is too much for 
him, the bigness of her love overwhelms her and she 
leaves him and the Argentine and goes back to Paris. 

It is there he meets her again. The dam, it 
seems, has been rebuilt and he is a bridegroom on 
his honeymoon, having married a girl of the Argen- 
tine, but one put in the shadow by Elena dur- 
ing her sojourn there. Elena by this time is down and 
out — on the streets, so to speak. Robledo, having 
slipped away from his bride for a few minutes, takes 
her to a cafe to talk over their old love. She pre- 
tends not to know him. "I meet so many men," she 
explains (a spoken title striking for its restraint, 
naturalness and meaning). 

That is the end; Robledo goes. And Elena? — be- 
fuddled as she is, she mistakes a bushy bearded 
stranger sitting at a nearby table absorbed in, perhaps 
Lci Fie Parhicnue, for none other than the Man of 
Sorrows. Tottering over to the table, she bestows 
upon him a splendid ruby ring, her last worldy pos- 
session of value, it may be supposed, and symbolic 
oi her heart's blood and the supreme sacrifice. "You, 
too, died tor love," she murmurs and wanders awav 
— into the darkness. Whereupon our bushy bearded 
boulevardier pinches himself to find if he is awake, 
calls the waiter, shows him the ring and congratulates 
himself upon his inexplicable good fortune. With- 


out the spoken title, which is both confused in its 
meaning and quite banal, this incident as a piece of 
irony, while perhaps it is a trifle daring, affords an- 
other sign that motion pictures in tiicir attempt to 
reveal the deeper significance of people's actions are 
getting serious. 

The film is beautifully produced all the way 
through. The first Paris sequence is the equal in tonal 
quality and feeling of anything that has been done in 
films. It is true with strong, sure character drawing. 
Miss Garbo makes Elena a breathing person. With 
the scene removed to the Argentine, plot and char- 
acter becomes less convincing, but the action is rapid 
.ind there is stirring photography and genuine story 
interest. Here, however, the picture is "movie" rather 
than taut, tightly-held "motion picture." Again Miss 
Garbo dominates with a silken seductive rendering of 
an erotic, self baffled woman, and she is up against 
Lionel Barrymore as the old P'rench soldier who gives 
up both labor and loyalty to his friends, overcome as 
he is by Elena — which is rather easy to understand. 

Once again in Paris, despite a taint of the foolish, 
the film picks up and in the end commands respect. 
For here the thin ghost of a de Maupassant or an 
Anatole France seems for a moment to stand, con- 
sidering the strangeness of human adventure with fin- 
ger on lips — while again the audience bends its eyes 
upon Miss Garbo. 

Good work is done by all the cast, by the director 
and the camerman. 

{From the novel by ritueutc Rla.Ho Ibanez. 
Adapted by Dorothy Farmim. Produced and dis- 
tributed by Metro-Goldiiyn-Mayer.) 

The Gorilla Hunt [Cominued from page 6) 
camera as we plainly see the gorilla dropped in his 
tracks scarcely thirty feet away from the muzzle of 
the gun. This fellow weighed over four hundred and 
fifty pounds and when suspended from the limb of a 
tree with several others proved a terrifying sight of 
dangerous brute strength. 

The small gorillas soon became tractable. The ex- 
traordinary intelligence of these beasts was strikingly 
illustrated by the following test which proved beyond 
doubt the power of reasoning in this largest of the 
anthropoids. One of them was shown a tempting bit 
of fruit several feet above his reach with two wooden 
boxes lying on the ground. He very soon put one box 
on top of the other and reached the coveted food. 
This same gorilla is again shown playing with a good 
sized dog with whom he has apparently made friends. 
There is something strangely human about this play, 
as if the gorilla were practicing a wise witholding of 
his strength; he is so much more intelligent than the 

The Gorilla Hunt is a highly instructive and enter- 
taining picture, in many ways an exceptional record. 
(Distributed by Film Booking Offices) 

National Board of Review Magazine 

Michael Strogoff 

Direitid h\ M. \oi' Block 

i M. Buret 

Photographed by I M. Bourijassoff 

{ M. Toporkoff 

The Cast 

jMichnel Strogoff Ifan Moskine 

\adia Fedoroff Mine. Nathalie Kovanko 

Ot/areff Chaktitoiiny 

Marfa (Strogoff's mother) Mme. Brindeau 

Zangara Mme. De Yznrdiiy 

Pheophar Khan Defas 

Basil Fedoroff A'. Kvanine 

General Kissoff Prince .Y. Koiigoucheff 

Alexander II. (Emperor of Russia) . .E. Gaidaroff 

THE film version of Jules Verne's best, if not 
best known novel, yields a stirring melodrama 
witii all the swiftness of action over wide ter- 
ritory and varying scenes such as only the motion 
picture can portray. The main feature of the plot 
is the task of Michael Strogoff, tlie courier of the 
Czar, to bear an important military message through 
the Tartar lines across Siberia. This affords ample 
opportunity for hairbreadth escapes, thrilling rides 
and encounters with picturesque Tartar hordes. 

At a time when foreign films are exercising such 
a marked influence upon so many American pictures 
it is interesting to see the process reversed. For it is 
quite obvious that the makers of Michael Strogoff 
have looked long and admiringly at the work of 
some of our popular directors. Thus spectacles and 
battle scenes alternate with much hard riding on the 
part of the hero in regular Western fashion and the 
climax comes in an approved movie fight with much 
damage to the furniture. It is rather startling to see 
a European hero sentimentalizing over his horse al- 
most to tlie point of kissing it and to find him crash- 
ing over balustrades and catapulting down a long 
flight of stairs in his final argument with the villain. 

But the picture has a native flavor too, notably in 
the camera shots of desolate Russian countrysides or 
primitive river ferries and in the scenes of peasant 
village life, and it is perhaps this native flavor com- 
bined with American methods which somehow turns 
this melodrama into a bit of convincing story telling. 

One of the scenes most artistically satisfying is a 
grand ball at the court of Czar Alexander the Sec- 
ond. While the ball is at its height, with all the 
guests participating in an animated dance that is like 
a swift gallop, the Czar receives the news that the 
Tartar hordes are laying waste the country. A vision 
of war and destruction comes to him in which he al- 
ternately sees the marauding Tartars charging down 
on his defenseless people and the heedless dancers 
dashing through the ball room. The contrast, with 
its connotation of "after us the deluge", is most ef- 

November, Nineteen Tuenty-six 


But tlie liiffh light of the picture comes wlien Stro- 
goff is captured and brought before tlie great Tartar 
Khan wliere lie is holding court in the iniilst ot his 
vast and picturesque encampment, Strogt)ff is con- 
demned to he blinded according to an oracular con- 
sultation of the Koran. Before this sentence is car- 
ried out, ho\ve\'er, the Kahn orders that Strogoff he 
shown all the wonders and the pageantry of the Tar- 
tar hosts. A beautiful and elaborate spectacle is 
staged with feats of Tartar horsemanship, juggling 
and acrobatic performances, and a native dance. 
These scenes are exceedingly well done wdth color 
photography and lift the picture into the class of 
super spectacles. They are more than a mere movie 
spectacle because they give the impression of an au- 
thentic picture of the barbaric, colorful Tartar civili- 
zation which at one time dominated central Asia. 

Michael Strogoff presents these exceptional spec- 
tacle aspects and raises the hope that some day some- 
body will have the vision, the means, and the his- 
torical equipment to film the journeys of Marco Polo. 
Aside from making a great picture such a story could 
also be turned into the most important experiment 
with color photography yet attempted. 

{From the novel by Jules Verne. Jdapted by J\ 
Toitrjansky. Produced by Societe des Cineromans. 
Distributed by Universal.) 

So's Your Old Man 

Directed by Gregory La Cava 

Photographed by George Webber 

The Cast 

Samuel Bisbee If . C. Fields 

Princess Lescaboura Alice Joyce 

Kenneth Murchison Charles Rogers 

Alice Bisbee Kittens Reichert 

Mrs. Bisbee Marcia Harris 

Mrs. Murchison Julia Ralph 

Jeff Frank Montgomery 

cil Jerry Sinclair 

MR. C. \V. FIELDS has a sure screen presence 
and great pantomimic facility. In the lingo of 
the studio "he is there." He has always been there 
in all his pictures and nowhere more so than in So's 
Your Old Man. But perhaps that sums him up as an 
actor and his good screen presence is merely due to 
the confidence that comes to him from strictly limiting 
himself to "doing his stuff." And his stuff is of the 
sure fire variety seasoned through a long apprentice- 
ship in vaudeville and musical comedy. 

But always one suspected that this imperturbable 
juggler and master of the sly wink and artfully 
cocked eye might also be a character actor of rank. 
That impression is greatly strengthened from seeing 
him in So's Your Old Man. Hitherto he has been 
content to transfer his stage business to the screen 
and stop the picture while he unloads his bag of 

tricks. But here a real comic character is created 
V. ith sometiiing of the effectiveness of Aubrey Piper 
in The Shozi-Off, and the buffoon merges into a hu- 
man type. 

The salient point in this advance in the quality of 
Mr. I'iehi's work is that most of his successful mo- 
ments are based upon iionest, straight acting rather 
tiian upon obviously designed comic business. In 
fact what was intended to be the biggest laugh climax, 
showing Mr. Fiekls harrassed as of old in his attempt 
to play golf, falls Hat just because it is merely "busi- 
ness," whereas his peace offering of a pony to his 
wife to make her forgive his spree will linger mirth- 
fully for a long while with all those who have seen it. 

Mr. Fields is called upon to portray a hopeless in- 
ventor, all the more hopeless because he doesn't know 
v.hen he has really invented something worthwhile, 
whose days are made doleful by a wife who would 
be no comfort to any man. His refuge and his con- 
solation are his inventive putterings and a friendly 
intimacy with alcohol in the company of a few cronies 
who understand his griefs. 

What Mr. Fields does with this part in many se- 
quences is comedy of the first order. His demonstra- 
tion of his unbreakable windshield in the course of 
which he hurls brick after brick through the wrong 
and decidedly breakable windshields, is the perfect 
tragi-comedy of a simple soul defeated in its aspira- 
tion by the perversity of a heedless fate. On his re- 
turn journey in a rocking train he gravely debates the 
pros and cons of suicide in favor of himself. And 
when he emerges from the depths of a janitor's cosy 
basement den after three days of alcoholic nirvanna 
his is a head triumphantly dizzy but unbowed. 

Considered as a whole So's Your Old Man has 
neither the completeness nor the sustained comic 
quality of such screen classics as Shoulder .irms or 
./ Small To-ciu Idol. It is a one man show, a little 
tour de force for Mr. Fields to show what comic 
stuff he is really made of. Mr. Fields' acting is ex- 
ceptional and to that extent the picture is exceptional, 

(From the Red Book Magazine story "Mr. Bis- 
bee's Princess" by Julian Street. Adapted by Hozv- 
ard E. Rogers. Scenario by J. CI arks on Miller. 
Produced and distributed by Paramount.) 

This season the C(immitttc on Exceptional Photoplays has 
been so reorganized as to allow its personnel to undertake a 
discovery of the unusual pictures whose existence is still 
unsurmised by the public. There are a number of these films, 
of both native and foreign origin, hidden away in vaults and 
warehouses in this country. Some of them may ultimately 
fiiid release through regular theatre channels, but rnost of thern 
will undoubtedly remain in the darkness to which fate in the 
form of a taste for the more popular in pictures has consigned 
them — at least until the little film-art theatres, which at" last 
show signs of opening their doors, present them with a screen 
and an audience. However that may be, it is hoped that the 
Committee's research mav uncover much that will interest the 
readers of the EXCEPTIOXAL PHOTOPLAY? department 
in this magazine. 


National Board of Review Magazine 

Masters of Laughter 

How the Animated Cartoons Are Made 











I lEN we were very young 
they used to tell us that 
curiosity was all wrong. 
"Curiosity killed the cut!" they an- 
nounced warningly, and when we 
immediately demanded further de- 
tails of tlie sad demise of that luck- 
less feline we were silenced with 
what approximated force. But as 
we grew rather older we decided 
that they were all wrong. Curiosity is a virtue and 
nothing in the world would ever have been started 
without it. Besides, the only people who are not 
curious are the people who don't care whether they're 
alive or not — and who wants to be a dead one? Also 
— and here is the tie-up with the rest of my story — 
having one's curiosity satisfied is such a very enjoyable 
feeling. We want to see the wheels go round and we 
want to know what makes them go, and having seen, 
we are conscious of increased importance. Besides, 
we are armed against one more barrage of youthful 
questions so that when little John and littler Joan say 
with infinite trust in one's omnipotence : 

"But hozv does the man make the animated car- 
toons go?" we can start, "Why, my dears, it's like 

ih'is " and go on from there to a triumphant finish 

instead of wilting desperately inside our collar and 
pretending not to hear. 

Now, of course, there are animated cartoons and 
animated cartoons. There are the amusing little 
drawings that hve and love and adventure against 
their own background of black-and-white cartoon 
country; but the cleverest ones are the pictures that 
show the cartoon characters coming into real houses 
and entering into all sorts of antics with real people. 
There is an amazing amount of work required for 
one reel of this kind, and we went to an expert for 
cur information on the "how" of it. 

The expert is Mr. Walter Lantz of Bray Cartoon 
fame. He originated "Danny Dingle, the Cartoon 
Kid", the "Unnatural History Cartoons" which tell 
a series of rib-tickling yarns about the leopard who 
became spotted, the camel who acquired a hump, the 
cat who grew whiskers — and how — to mention only 
a few, as well as his latest and most endearing crea- 
tion, "Pete the Pup", star of the new "Hot Dog" 

Walter Lantz is a young man with an unusual com- 
bination. He has a whimsical sense of humor, a 

brain-full of new ideas and a genius for transferring 
both into black and white. He is also an excellent 
comedian so that he co-stars most attractively with 
l;is pen-and-ink children in the Bray Cartoons. 

And this is how it is done. First of all there must 
be a staff of twenty-five to thirty people in a studio 
v/hich produces a complete animated cartoon each 
week. This includes six "animators"' who ilo noth- 
ing but pencil drawings, "tracers" M'ho ink them in, 
a "gag writer" whose duty it is to think of humor- 
ous situations, and a photographer. 

The scenario is written. The artist in charge dis- 
tributes the various scenes among the animators who 
study the action very carefully to see where they can 
insert a little funny piece of business. If a scene calls 
for an action where a man peels a potato it is left to 
the Imagination of the animator as to how the man 
should do it in the funniest possible way. It Is not 
so much the Incident but how each animator handles 
It that makes the scene funny. 

THE drawings are made on fairly transparent 
paper and the figures are drawn about two to 
three inches high. The paper has two holes 
punched at the top, like the paper In a loose-leaf 
ledger and there are two pegs to match the holes, 
fixed In the top of the drawing board. The artist 
makes the first drawing and then puts a blank sheet 
of paper on the pegs and draws the next position, 
moving it sligthly forward or around as the case re- 

These movements have to be calculated with 
mathematical accuracy to ensure smooth running. It 
a character has to walk across a room it requires 
about forty drawings, moving each one a quarter of 
an inch. If the character is to move faster he is 
spaced at half-an-Inch, or If he is running he is spaced 
a whole Inch forward each time he is drawn. 

After a scene is animated in pencil it Is turned over 
to the tracer. The tracers are generally young art 
students who are ambitious to become animators. 
They trace the pencil drawings on sheets of celluloid 
the same size as the paper and punched with two 
holes in the same way. "Cels" is the professional 
pet name of these tracings. The young tracer must 
be verv accurate in his work for if he does not keep 

November, Nineteen Twenty-six 


strictly within his hnes the figure will quiver like a 
jelly-tisli when the whole sequence is run oft. 

Tracing eliminates a lot of work. If a rigure is to 
raise his arm the animator makes the first tlrawing 
of the character, which is called the "model". Tiicn 
he only animates the arm, fitting each position to the 
"model". The tracer then makes a "eel" of the fig- 
ure, minus the arm, and puts the arms on another set 
of "eels". When this action is ready to be photo- 
graphed the "model eel" remains on the pegs and 
each "eel" of the arm is photograplied witii the 
model. Where a figure talks, the animator makes 
five or six drawings of the head only, and one draw- 
ing of the first position complete. The tracer inks in 
the heads on a set of "eels" and makes a "eel" of 
tlie figure, minus the head. 

AFTER the tracer has inked in the entire scene 
it is then passed on to other people who fill in 
the blacks, such as coats, shoes, and so on. On 
the reverse of the "eel" the figures are then painted 
with a white opaque water-color paint. This is done 
so that when a "eel" is photographed against a back- 
ground that has furniture and people in it, the ob- 
jects will not show through and make our cartoon 
characters like transparent little animated ghosts. 

When the scenes have all been blackened and 
opaqued they are ready to be photographed. Each 
animator receives the scenes he animated and writes 
a chart showing how much exposure each drawing 
is to get. 

Meanwhile, our Walter Lantz and his cast of real 
people have been photographed in the studio with 
regular sets, such as are used in feature pictures. 
They go through their parts as though the cartoon 
figures were on the set with them. They look down, 
laugh or scowl, snatch at apparently nothing, listen 
appreciatively to someone who is obviously not there. 

I hen this reel-lull ot seemingly meaningless action 
is finished and ready to be combined, by clever double- 
exposure, with the finished cartoon sequence. 

When the cartoon part is ready the scene and the 
exposure chart are given to the cameraman. A reg- 
ular motion picture camera is used, which is sus- 
pended over a table on which are a set of pegs like 
tliose used on the drawing-boards. The lens of the 
camera is in direct line with these and illumination 
is furnished by special lamps, suspended on each side 
of the camera so that light is centered on the draw- 

THE camera has an automatic crank, operated 
by a motor. When the photographer pushes a 
button the camera takes one picture. The 
background is placed on the pegs, remaining so 
through the scene and the "eels" are then photo- 
graphed one at a time as marked on the exposure 

It requires three days for one man to photograph 
a complete picture, and after that the film must be 
cut and assembled so that many hours of work as 
well as a mighty amount of concentration go into the 
making of ten minutes of laughter for us all when 
we see the results on the screen. 

There's a thought! Laughter must be a tremen- 
dously important thing in life if ten minutes of it is 
worth a week of hard work. Well, it is as impor- 
tant as all that, isn't it? It is certainly the greatest 
tonic in tlie world and the greatest cure for practi- 
cally every ill under tlie sun. 

So that Walter Lantz of Bray Studios, and his 
two chief assistants, Clyde Geronimi and David 
Hand, and all the rest of his talented staff most cer- 
tainly deserve a vote of thanks and should be 
awarded tlie honorary titles of "M.L.M." — Master 
Laugh Makers! 



National Board of Review Alagazine 

Selected Pictures Guide 

Rcz'inv Committee 

Consists of approxi- 
inat^rly 2aO trained 
members representa- 
tive of widely varied 
interests who _ volun- 
teer their services for 
the review of pictures. 

./ (Ic/<art incut devoted to the best popidar entertainment and program films. 
Eacli picture is rcfictivd hy a committee composed of members from the Rcrie^o 
Committee personnel. Their choice of the pictures listed is based upon principles 
of selection dezeloped Ihronyh long study of what constitutes a good picture from 
the standpoint of enlcrtainment ■t-alue. The findintis form a composite opinion of 
each committee's z-ieus and upon this opinion are based the short rcfietvs and audi- 
ence recommendations of the pictures appearing in this department. These rcz-iews 
seek to bring to the reader an unbiased judgment of the pictures most u'orthy of 
popular theatre patronage and most helpful program building for special shomngs 
of selected entertainment films. 


Dcparlmtnt Staff 


Frances C. Hakrett 



Key to Audience Suitability 

General audience (composed principal- 
ly of adults). Pictures primarily inter- 
esting to adults — but pictures not ordinar- 
ily recommended tor boys and girls may 
be included in the list of the presentation 
is not objectionable for them. 

Family audience including young peo- 
ple. Pictures acceptable tu adults and 
also interesting to and wholesome for boys 
and girls of High School age. 

Family audience including children. 
Pictures acceptable to adults and also in- 
teresting to and wholesome for boys and 
girls of grammar school age. 

Mature audience. Pictures recom- 
mended for the consideration and enjoy- 
ment of adults. 

Note: — Programs for Junior Matinees 
should be selected from pictures in the 
family audience classification. 

* — Pictures especially interesting or iiell 
done but not necessarily "exceptional." 

*Bardelys the Magnificent 

Directed hy King I'idor 

Featuring John Gilbert 

S'orel by Rafael Sabatini 

SPECTACULAR costume romance of 
young Bardelys as a Don Juan. 
Bardelys makes a bet with his comrades 
that he can win the love of a lady in one 
month. This might not have been so easy 
if young Bardelys had not won the young 
lady incognito. Pictorially the production 
is interesting and the acting very good. 

For the family audience including 
young people. 

(Metro— 9 reels) 

The Buckeroo Kid 

Directed by Lynn Reynolds 

Featuring Hoot Gibson 

Story "O. Promise Me" by Peter B. 

Kyne in Collier's Magazine 
Xl /ESTERNERS are turning to comedy 
* ' of late and forgetting the old cattle 
rustling plot and the bad sheriff who is a 
wolf in sheep's clothing. Hoot Gibson 
uniimbers a real comic vein instead of his 
usual six shooter and kids the testy, 
pompous owner of the ranch to a stand- 
still, to the great delight of the latter's 
daughter. Incidentally he cleans out a 
grafting foreman and his lazy cowboys and 

makes the owner eat humble pie as well 
as give him his daughter. A Westerner 
which is not just the old stuff. For that 
relief much thanks! 

For the family audience including chil- 

(Universal — 6 reels) 

The Eagle of the Sea 
Directed by Frank Lloyd 

r. I Ricardo Cortez 

r eaturing , r-i i^-, 

•^ [r lorence I idor 

S'ovel "Captain Sazarac" by F. Tennyson 


A COLORFUL romance of Southern 
■'»■ chivalry in the days when New Or- 
leans still rubbed shoulders with pirates 
and looked upon Napoleon with French 
sympathy. The pirate hero is a gentleman 
and a lover first and foremost and both 
defies his pirate crew and runs the risk 
of the gallows for the sake of a belle with 
whom he has become smitten at a New- 
Orleans carnival. A sea fight enhances 
the drama and a capital bit of comedy is 
contributed by the town wit who is for- 
ever drunkenly masquerading as the real 
pirate hero. 

For the family audience including young 

(Paramount — 8 reels) 


Directed by Herbert Jf'ilcox 

Featuring Dorothy Gish 

Original screen story by Thomas Burke 

T ONDON is a story of Limehouse. A 
■*— ' girl brought up in squalid surround- 
ings, and menaced by a Chinaman, runs 
away from her home and wanders 
through the streets until she faints and is 
taken to a restaurant by a wealthy man, 
where she proceeds to eat a square meal 
for the first time in her life. She is later 
adopted by the man's aunt who sees in 
the girl of Limehouse, a resemblance to 
her dead daughter. She finally finds her 
place in the heart of the old lady as well 
as in that of the young man who had been 
affianced to the dead girl. The produc- 
tion was made in England with an entire 
English cast except Miss Gish. 
For the general audience. 

(Parainount — 6 reels) 

The Magician 

Directed by Rex Ingram 

,. \Paul Wegener 

^■^"""■'"9 [jlice Terry 

Novel by If. Somerset Maugham 

A STORV with an unusual theme and 
■'^ much pictorial beauty. An insane 
magician seeks to create life according to 
an ancient formula which calls for the 
heart's blood of a virgin. He puts a 
young girl under his spell by means of 
hypnotism and finally drags her off to an 
old sorcerer's tower in order to perform 
his dreadful experiment. The tower, set 
in a wild and fearsome countryside and 
presided over by a repulsive dwarf, is 
truly a place of horror. Paul Wegener 
of Golem fame plays the magician in 
arresting fashion. 

For the general audience. 

(Metro-Goldwyn — 8 reels) 

The Prince of Tempters 

Directed by Luther Mendez 

(Ben Lyon 

Featuring -j Lois Moran 

[Lya dePutti 

Novel "The Ex-Duke" by E. Phillips 

T .\ Pellini. a small town in Southern 
■*■ Italy, a woman deserted by an Eng- 
lishman she married, gives her son to the 
monastery when she dies so that he will 
not know the bitterness of the world. Fif- 
teen years later when he has taken the 
vows, it is discovered that he is the son 
of a wealthy Duke who had died. The 
young man. through papal authority, is al- 
lowed to go to his estates in England. 
After bitter experiences with a woman of 
the world and his young cousin with whom 
he has fallen in love, he returns to the 
monastery on the eve of his cousin's mar- 
riage to an imposter who had run away 
from the monastery and posed as a baron. 
The young cousin, played by Lois Moran, 
refuses to marry the baron. She follows 
her cousin to the monastery where every- 
thing is explained to their mutual happi- 

For the general audience. 

(First National — 8 reels) 



Nineteen Tuenty-six 


*The Quarterback 

Directiil hy I'rid Ncwnieyer 

Featuring Richard Dix 

Original siritn story by II . O. 
McGeehan and 11 m. S. McS'iitt 

A FOOTBALL romance. Two rival 
teams are to play the big game of the 
season, and on the eve ot the game 
young Stone, quarterback for one of the 
teams, is expelled from college for some- 
thing he did not do. When the game is 
nearly lost to the opposing team, it is dis- 
covered that Stone is innocent. He is 
found and brought into the game just in 
time to save the day. The game itself is 
well portrayed and the interest of the 
story well sustained. 

For the family audience including chil- 

(Paramount — 8 reels) 

Red Hot Hoofs 

Directed by Robert De Lacy 

Featuring Tom Tyler 

Original screen story by George II . 
Yates. Jr. 
A NOTHER Westerner which probably 
■'^ reflects the fact that the fans are get- 
ting tired of the old formula and are 
calling for novelties even where cowboys 
are concerned. The old cattle rustling 
or ranch stealing racket seems to be on 
the skids. This cowboy hero can fight 
with his fists as well as with his trigger 
finger. He takes on a bumptious prize- 
fighter and manages to stay on his feet 
for the scheduled three rounds, which 
earns him a prize of a thousand dollars 
which he gives to the heroine's brother in 
order to cover a bank shortage. When the 
prize-fighter tries to steal this money back 
and kidnap the girl into the bargain Mr. 
Cowboy gets real mad and cleans him up 
properly in a go-as-you-please fight. Tom 
Tyler is winning and modest in the part 
and the prize-fighter does a sound piece of 
character acting that is both human and 

For the family audience including chil- 

(Film Booking Office — 5 reels) 

There", one a shell-shock patient and the 
other his "buddy" who has stood by him, 
go West to claim the ranch left by his 
Lncle to the boy who was shell shocked 
and which has been taken over by the fore- 
man who, thinking the boy dead, has 
claimed the ranch as his and counterfeited 
a will leaving the ranch to himself. The 
lads not only gain the ranch but also win 
the hearts of two girls. 
For the general audience. 

(Universal — 5 reels) 

The Timid Terror 

Directed by Del Andrews 

Featuring George O'Hara 

Story Hi.' Taxi! by [falter G. Sinclair 
r^OMEDY of a bond clerk suffering 
^^ from a bad attack of "inferiority com- 
plex." But learning what nerve will ac- 
complish there is no limit to the means 
which he pursues to show he is a man of 
punch and power: in fact the one man for 
the coveted branch managership. 

For the family audience including chil- 

(Film Booking Offices — 5 reels) 

True Blue 

Directed by inUiam Wyler 

Featuring Fred Humes 

Original screen story by Robert F. Hill 

A STOR^' of friendship cemented by 

•'*• the perils and hardships of the World 

War. Two boys, returning from "Over 


As We Forgive 

Biblical picture with modern instance to 
illustrate the virtues of forgiving, based 
on one of Paul's Epistles. 

For the general audience. 
(Pathe — 2 reels) 

*War Paint 

Directed by If. S. I'anDyke 

Featuring Col. Tim McCoy 

Original screen story by Peter B. Kyne 

A ROMANCE of the "Reds" and the 
■'^ "Whites ". A young officer stationed 
with the army near an Indian reservation, 
tries to bring permanent peace to the 
"Whites" and the Indians. When "Iron 
Eyes", a medicine man, is thrown out of 
his tribe, he gathers his followers to- 
gether and raids the fort. The young 
ofliccr who has been put under arrest for 
his refusal to make war against the 
friendly tribe risks his life to procure help 
from the Indians. When the fort is saved 
and the renegade Indians are killed, peace 
is at last declared between the "Whites" 
and the Indians, and of course the officer 
wins the daughter of his superior officer, 
and the picture fades out with a military 

For the family audience including chil- 

(Metro-Goldwyn — 6 reels) 

■Whispering Wires 

Directed by Albert Ray 

Featuring Anita Stewart 

Saturday Evening Post story by Kate 

T I ERE is a good detective story, which 

■'■ might have been even more gripping 
by keeping the audience in the dark as to 
who is the mysterious killer. However, 
the story is interesting and well worked 
out with a touch of the supernatural. 
For the general audience. 
(Fox — 6 reels) 

"Movies for Schools" Urges Edison 

<<\ /fOTIOX pictures should be added 
•'■*•'■ to the equipment of schools," says 
Thomas Alva Edison, the famous inventor. 
Strongly advocating this important change 
in educational methods, he maintains that 
the use of motion pictures would speed 
up teaching. "The Scout movement," he 
says, "which teaches boys how to do things 
is good. Construction instruction in mag- 
azines is good. The radio building craze 
has helped too." 

Edison predicts that soon "rapid read- 
ing" will be taught in the schools, so that 
pupils of ordinary intelligence will be able 
to sense a whole line at a glance. 

Be Prepared 

A comprehensive picture of Boy Scout 
training and activities. 

For the family audience, including chil- 

(Pathe — 3 reels) 

Durable Souls 

(Sportlight series) 

Showing the need and value of endur- 
ance in all athletic contests. 

For the family audience, including chil- 

(Pathe— 1 reel) 

Future Greats 
(Sportlight series) 
Promising juvenile athletes in action. 
For the family audience, including chil- 

(Pathe— 1 reel) 

Great Lakes 

(World We Live In series) 

Scenic views of the Great Lakes. 

For the family audience, including chil 


(Fox — 1 reel) 

Hooks and Holidays 

(Sportlight series) 

All kinds of fishing. 

For the family audience, including 
voung people. 

(Pathe— 1 reel) 

Maryland, My Maryland 
(World We Live in series) 

Views of fascinating places in the state 
of Maryland. 

For the family audience, including chil- 

(Fox — 1 reel) 

Molders of Manhood 

Boy Scout picture showing the heads of 
the scout movement in all countries, as- 
sembled in a woodland session. 

For the family audience, including chil- 

(Pathe— 1 reel) 

The Mona Lisa 

f , . \Hedda Hopper 

Featuring '„ i j i- . 

[Crawford Kent 

Fanciful story to explain the enigmatic 
Mona Lisa smile. Technicolor treatment. 

For the family audience, including 
young people 

(Educational — 2 reels) 


National Board of Rvviijv Magazine 

Our Common Enemy 

(Tolhurst Microscopic) 

Showing the construction and activities 
of flies and their danger to health. 

For the family audience, including chil- 

(Pathc— 1 reel) 

*Pathe Review No. 43 

Horsing the Army, breeding and train- 
ing of U. S. Cavalry Mounts; Alaska a la 
mode, proving that the "Frozen North" 
isn't always frigid. Priests of the Orient, 
exotic costumes of the Asiatic Clergy; 
Steps from the Steppes, a novelty. 

For the family audience, including chil- 

(Pathe— 1 reel) 

*Pathe Review No. 44 

^Miracle Mud, New England's Beauty 
Baths; Memory Road, retracing old steps 
along a country lane ; With the Roose- 
velts in Turkestan; The Ramparts of the 

For the family audience, including chil- 

(Pathe— 1 reel) 

*Pathe Review No. 45 

Millinery Matters, chic chapeaux ; 
Studies in Color by Arthur C. Pillsbury, 
Yosemite Park, Calif.; Around the World 
in Twenty-eight days with Edward S. 

For the family audience. Including chil- 

(Pathe— 1 reel) 

*Pathe Review No. 46 

Rope Ranch, Large-Scale culture of 
Sisal in Mexico; American Colleges, Syra- 
cuse; The Lost Empire of Africa, Expedi- 
tion led by Count de Prorok. 

For the family audience, including chil- 

(Pathe— 1 reel) 

*Pathe Review No. 47 
The Game's the Thing, Sport for 
Sport's Sake; The Cleft of the Cere, a 
V^olcanlc Valley of the French Hill coun- 
try; Yes, Sir, That's My Baby, a novelty. 
For the family audience, including chil- 

(Pathe— 1 reel) 

*Pathe Review No. 48 

Laurka in the Nautch, Dances from 
India: The Coast of Devonshire; The In- 
side Story of Steel. 

For the family audience, including chil- 

(Pathe— 1 reel) 

*Pathe Review No. 49 

Shanghai Glimpses; Yosemite National 
Park; Reindeer Ranches. 

For the family audience, including chil- 

(Pathe — 1 reel) 

Scouting With Dan Beard 

A good Boy Scout picture showing scout 
life and training. 

For the family audience, Including chil- 

(Pathc — 2 reels) 

Singing and Stinging 
(Tolhurst Microscopic) 

A film telling what the mosquito is like 
but not why. 

For the family audience, including chil- 

(Pathe— 1 reel) 

Spanish Holiday 

A variety showing the bull ring. 
For the general audience. 
(Fox — 1 reel) 

Top Notchers 

(Sportlight series) 

Showing the stars of various sports in 

For the family audience, including chil- 

(Pathe— I reel) 

With the Wind 

(Sportlight series) 

Showing many forms of sailing sport. 
For the family audience. Including chil- 

(Pathe— 1 reel) 


Get 'Em Young 

Featuring Harry Mxers 

He has to marry to inherit a million but 
is already married. Funny slapstick. 

For the family audience, including chil- 

(Pathe — 2 reels) 

The Last Lap 
(The Collegians) 

Featuring George Leii'is 

Freshman runner is fouled by the soph- 
omore villain but wins his race anyhow. 
For the family audience, including 
young people. 

(Universal — 2 reels) 

Napoleon, Jr. 

Slapstick comedy with children and ani- 

For the family audience, including chil- 

( Fox- — 2 reels) 

Now You Tell One 

Comedy in which a young man wins the 
medal for the best story. 

For the family audience, including chil- 

(Film Booking Offices — 2 reels) 


Courtship of Miles Standish 9 reels 

The Pilgrims (Chronicles of Ameri- 
ca series) 3 reels 

The Puritans (Chronicles of Ameri- 
ca series) 3 reels 

Distributed by Pathe Exchanges, Inc., 35 

West 45th Street, New York, N. Y. 

Ko-Ko's Eats 1 reel 

Distributed by Red Seal Corp., 1600 
Broadway, New '\'ork. N. Y. 

Some Pun'kins 7 reels 

Distributed by Chadwick Pictures Corp.," 
729 Seventh Avenue, New York, N. Y. 

Thanksgiving yi reel 

Distributed by Fitzpatrick Pictures, 729 
Seventh Avenue, New '^'ork, N. Y. 

Better Homes Films 

T N line with the aroused interest in 
^ better homes which will follow the 
American Homes National Congress 
sponsored by the General Federation of 
Women's Clubs to be held at Des Moines, 
Iowa, November 16th to 19th, the Better 
Films National Council suggests "Better 

reel each. Bray Productions, 729 Seventh 
Ave., New York City. 

WHAT THEY DO, 1 reel. New York 
Edison Co.. Irving Place and 15th Street. 
New York City. 

Edited Pictures System, 71 W. 23rd St., 
New York City. 

AGENT. 3 reels. United States Depart- 
ment of Agriculture, Washington, D. C. 
Selections from the Home Economics 
list which is available from the National 
Board of Review of Motion Pictures. 

The Motion Picture Moves On 

(Continued from page S) 

of the film at one time. He views the 
results of the photographic work so often 
that he is apt to lose his perspective. 

Although there are countless mediocre 
photoplays put forth, it is obvious that 
gradually the old way of making pictures 
is disappearing. The familiar left hand 
drawer frorrr which the father took out a 
pistol is not seen nearly as frequently, and 
gradually the penchant for floods, violent 
storms and bewildered, bedraggled maidens 
in a forest is weakening. 

And perhaps some day we can hope to 
see more pictures in which the players, 
without worrying so much about their pub- 
lic, actually read the book, study the screen 
play and submerge their personalities in a 
character, making him or her a real hu- 
man being. 

November, Nineteen Tiventy-six 


Better Films Activities 

Editor, RiTH Rich 

A G. BALCOM, director of visual 
instruction in the Newark, New 
Jersey, public schools, addressed the 
Rutherford Better Films Committee a few 
weeks ago. He illustrated his talk by 
showing several pictures on the portable 
screen which he had with him. 

The Rutherford Better l-'ilms Commit- 
tee at this meeting completed its second 
year of work and has made an effort for 
the two years of its existence to provide 
for the showing of clean and interesting 
pictures at the local theatre. The meet- 
ings throughout the year have been filled 
to capacity with teachers and representa- 
tives of out-of-town clubs. 

Reports were presented showing the 
work and accomplishment of the several 
sub-committees. Mrs. E. F. Miner, vice- 
president and chairman of the editing 
committee, explained the work of editing 
the Photoplay Guide which appears week- 
ly in Rutherford papers. Ten members 
have contributed to this work. 

Mrs. L. .Mourey, chairman of the Re- 
view Committee, reported that an accu- 
rate record had been kept of pictures 
shown at the Rivoli and that out of 129 
programs presented 114 had ranked as 
"selected films." Careful attention had 
been paid to the reviewing of week-end 
pictures and out of 24 programs only 3 
were not "selected" or better films. 

The "Do You Know?" column, which 
is so popular with Republican readers is 
in charge of Mrs. J. Lucey, who, with 
two other members, has selected news of 
the motion picture world, edited and pre- 
pared it for the paper in the form of this 
arresting news column. 

Mrs. F. Gunkel, chairman of the Ex- 
ceptional Photoplay Committee, reported 
that 22 exceptional pictures had been 
shown at the theatre, and cards calling 
attention to them sent to interested towns- 

The Extension Committee headed by 
Mrs. A. E. Hurst, reported membership 
from 22 organizations, an increased mem- 
bership of nine over last year's enroll- 

Miss Burrows reported activities at the 
Rutherford Library in the form of week- 
Iv posting of the Photoplay Guide, dis- 
plays of good books relating to good pic- 
tures, display tables of literature and 
books about motion pictures and the use 
of the library for committee meetings. 

Two representatives gave accounts of 
their endeavors to carrv back the work of 

tile Better lilms Committee to their re- 
spective organizations as a sample of the 
effort required of each individual member. 
They were Mrs. Scott Staples, represen- 
tative of Sylvan P.-T. A., and Mrs. E. F. 
.Miner, representing (Jrace Episcopal 

Rutherford Better I'ilms Committee 
has a clever secretary who knows how to 
make a report of the year's meetings scin- 
tillate with humor and wit. Mrs. Wil- 
liam John got a round of applause for lur 
summing up of the year's meetings. 

I\Irs. A. E. Hurst's modest report as 
treasurer shows that a very little money 
wisely spent can l.iunch a big and worth- 
while enterprise, when the Rutherford 
Better Films committee launches its lit- 
tle craft. 

Mrs. F. Hale reporting for the Nomi- 
nating Committee presented the ticket of 
officers for the coming year which was 

President — Mrs. Harry G. Grover. 

\'ice-President — Mrs. E. F. Miner. 

Recording Secretary — Mrs. Scott 

Treasurer — Mrs. Alfred E. Hurst. 

Corresponding Secretary — Mrs. Paul 

T^HE Better Films Committee of Ma- 
con, Georgia, in addition to sponsor- 
ing successful Junior matinees, cooperates 
with the exhibitors in several special per- 
formances and tries to increase attendance 
at the Better Films throughout the year. 
Officers of the Better Films Committee 
for the ensuing year include Mrs. Piercy 
Chestney, president; Mrs. Bruce Jones, 
vice-president; Mrs. Robert Nussbaum, re- 
cording secretary; Mrs. Jack Cutler. Jr., 
corresponding secretary; and Mrs. A. F. 
McGhee, treasurer. 

Missouri Women's Clubs Opposed 
to Censorship 

T^ HE Missouri Federation of Women's 
Clubs' state board at a meeting held 
on October 12, went on record as op- 
posed to state censorship of motion pic- 
tures. The women favor a program of 
education work through motion pictures. 
Leaders among the women believe that 
it is not the proper province for the state 
to dictate to the people what they shall see 
in motion picture theatres — that such a 
policy would be un-American. 

\/\ l^S. A. I'. I'.mger, of Miami, presi- 
dent of the Florida Congress, Par- 
ent-Teacher Associations, is the temporary 
chairman of the commvinity group which 
is taking steps to organize a .Motion Pic- 
ture Study Club in South Florida. 

.Mrs. A. L. Clayton, of Jacksonville, 
P.-T. A. state chairman of motion pic- 
tures, has outlined a program for the state, 
Miami being the first city for intensive 
work with the Parent-Teacher associa- 
tions taking the initiative. In talking about 
the work recently .Mrs. Clayton said: 
"Supplying a better knowledge of motion 
pictures, and giving intelligent cooperation 
to the exhibitors, and support to the pro- 
ducers in making better pictures is the mo- 
tive of our work this year. 

"History of the Better Films Move- 
ment points to the desirability of the 
adoption by new citizen groups on motion 
pictures of a group name which will con- 
note the fact that they are primarily stu- 
dents of the screen — not censors or up- 
lifters or even necessarily persons who are 
asking the exhibitor to give them better 
pictures than he is giving, or perhaps can 
give — but rather students who, through a 
knowledge of the motion picture, will as- 
sume naturally and rightly sooner or later 
a recognized place as encouragers of the 
best in motion pictures, as moulders of 
public taste and leaders of public patron- 

Mrs. Clayton then outlined the objects 
of the Better Films National Council. 
Through her work on the Jacksonville, 
Florida, Better Films Committee, Mrs. 
Clayton has informed herself on the work 
of this national group and believes that 
while individual clubs may do good work, 
that it is through the cooperation of all 
organized groups of men and women in a 
community Motion Picture Study Club or 
Better Films Committee affiliated with the 
national body that the most effective work 
can be accomplished. 

Motion Picture chairmen of all state 
orgaiuzatioris in Florida are cooperating 
in plans for an extensive program for this 

•'■''•' who resigned as secretary of the Bet- 
ter Films National Council last February, 
is enjoying an extended stay in California. 
She spoke entertainingly of the work of 
the National Board of Review at a recent 
meeting of the Women's Association of 
Screen Publicists, in the Writers' Club in 
Los Angeles. 


A RE you interested in knowing;- which are the l)ettcr 
■*^ motion pictures, the ones worthy of your patronage, 
and, from a source of pre-lease review, results of the find- 
ings of 250 volunteer review members? 

ZINE isMK-d monthly, will give you this information cur- 
rently through its Exceptional Photoplays and Selected 
Pictures reviews. It carries also articles of general interest 
on motion pictures. $2 a year. 

The selected j^ictures of the year are accumulated in 
the annual Selected Pictures Catalog. 25c. 

Many feature pictures have especial interest for spe- 
cific occasions, and these pictures sujiplemented by the best 
in non-feature or educational films, are compiled by the 
Better Films National Council into various helpful lists for 
program building. 

Selected Book-Films 10c. 

Historic and Patriotic Pictures 10c. 

Religious Pictures 5c. 

Americanization Pictures 5c. 

Holiday and Special "Weeks" lists (each) . 5c. 

Junior Matinee Programs 5c. 

For communities wishing to organize their local 
activities into definite groups for the promotion of the 
better films movement there is available the Motion 
Picture Study Club Plan. 

National Board of Review of Motion Pictures 

70 Fifth Avepue 

New York, N. Y. 




(Combining "Excepttona.] Photoplays," "Film Progress' and "Monthly Photoplay Guide") 

Vol. I, No. 7. 

December, 1926 



The Somnambulist Awakens 

World Mission of the 
News Film 

Grey Magic 

— ♦ — 

What the Movies 

Did to 



Published monthly by tbe 

National Board of Review of Motion Pictures 

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Established by The People's Institute in 1909 
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Christmas Greetings! 
To All Our Readers 


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IF you enjoy each month "J'HE 
VIEW MAGAZINE, do you not 
think vour friends would enjoy it 
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A year-round Christmas gift re- 
minding- your friends of you while 
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December 1926 

Tlie Somnambulist Awakens, Editorial 

J. B. K. 3 

Grev Magic 

fr. A. B. 4 

What the Movies Did to Halloween 

Lamar Trotti 6 

ilic AVorld Mission of the News Film 

Rutgers Neihon 8 

L.\Ci-j>liijiiiil I'liijlijjildys 

Potcmkin 11 

Hotel Imperial 12 

What Price Glory 14 

Return of Peter Grimm 15 

Selected I'ict tires Guide 16-18 


The Hlonde Saiflt-- - 

Bred in Old Kentucky 

Everybody's Actini; 

Exit Smiling 

Tile Flaming Fores_t. 

The General 

God Gave Me 20 Cents 

The Lonp: Loop 

A Resiular Scout 


We're in the Navy Now 
Wings of the Storm 
Winning of Barbara 

VWorth 'J 

With Daniel Boone 

Through the Wilderness 
With General Custer at 
the r.ittle Big Horn 

NoN-Fi:.\TiRi: SiB.ircTS 

By the Wholesale Puthc Reviews No. 51-52 

Hula Hula — Pathe Review n. s. No. 2 

Honolidu Nights Rolling .Along 

The Sporting Knack 

Short Comediks 

.\round the Bases Felix the Cat in Land 

Bring Home the Turkey O' Fancy 

Duck Soup The Nickel Hopper 

Copyright 1926. The National 

Clnistmas Program Pictures . . 

'4 Better Films Activities 

Board of Review of Motion Pictures 


National Board of Review Magazine 

Dr. William B. Tower, Chairman 
1>R. MvRON T. Sci'DDEB, Treasurer 


Edwiird A. Morce 

Walter W . IVttit 

Mrs. Miriam Siitro Price 

Dr. Mvron T. SciuKlcr 

Dr. Albert T. Sliids 

Dr. WiMiaili B. Tuwcr 

George J. ZehruiiK 

70 Fifth Avenue, New ^■ork C ity 
Published Monthly 


Wilton A. Barrett, 

lixecitth'c Sfcrtory 
Ut' I It Rail 

Alfred B. Kuttner 

l-HANCKs C. Barrett 

Bettina CiLNczy 

Volume I, Number 7 

December, 1926 


a copy. 


a year 

The Somnambulist Awakens 

WHEN we Hrst reviewed The Cabinet of Dr. 
Califfari after a special showing of the pic- 
ture to the Exceptional Photoplays Committee 
in the Capitol Theatre, we wrote in part as follows: 

"The Cabinet of Dr. Caligari is a revelation 
and a challenge. It is a revelation of what the 
motion picture is capable of as a form of art- 
istic expression. It challenges the public to ap- 
preciate it and challenges the producer to learn 
from it. The revelation is there for all to see. 
If the appreciation fails, the motion picture it- 
self, and all that it has promised, is in danger 
of failing. 

"In The Cabinet of Dr. Caligari the motion 
picture for the first time stands forth in its in- 
tegrity as a work of art. It is one of the para- 
doxes of art that it is at the same time an ab- 
straction and something tangible in terms of our 
bodily senses. It is form and idea. 

"The story of Doctor Caligari is a phantasy 
of terror told with the virtuosity of a Poe, in 
terms of the screen. Its emotions appeal di- 
rectly to a universal audience. Even if stripped 
to its barest outline it would still compel our 
attention, for it deals with the fascinating prob- 
lem of one person's supernatural control over 
another person. But it acquires the irresistible 
quality of all true art because it is told with such 
complete mastery of medium that its terror be- 
comes an aesthetic delight. We find that we 
have shared the experiences of a madman with- 
out suspecting that he is mad; we have been 
transported into that sphere w'here man creates 
his own imaginative realiities as an escape from 
the realities of life which constantly overwhelm 
without every completely satisfying him." 

This high encomium was written in 1921. To- 
day after a second viewing nothing has happened to 
make us change that unreserved judgment. For 
now again after a lapse of over five years the picture 
shines forth in its artistic integrity. With a minimum 
of advertisement or paid publicity The Cabinet of Dr. 

Caligari has been running to packed houses for over 
four weeks at the Fifth Avenue Playliouse. It still 
dwarfs contemporary pictures of artistic pretentions 
and in its own field it has never been surpassed. Now 
more than ever we feel assured that it will go down 
as a landmark in the history of artistic pictures. 
In concluding our review we also said: 

"In The Cabinet of Dr. Caligari the motion 
picture has proved its kinship with the other 
arts. Its popularity ought to be assured. It 
comes to us at a critical period of our motion 
picture industry when the public is jaded by 
many inferior domestic pictures and our pro- 
ducers themselves are still at a loss as to how to 
get out of their rut. It should give the public 
a new standard and imbue the producers with 
the courage to live up to it. Is it too much to 
assume that the American public can appreciate 
the best when it is given a chance to see it?" 
This also, is no less true today. The motion pic- 
ture industry is still groping. It still pursues popu- 
larity to the exclusion of quality, and seeks to dazzle 
a jaded public by extravagantly spending money for 
flashy pictures on the plausible theory that the more 
money spent on a picture, the better it will be. But 
The Cabinet of Dr. Caligari was made for a trifling 
sum under the most penurious war conditions. Why 
not try giving a director as little money as possible, 
instead of as much as possible, so that he must give 
something of his imagination too? 

The present success of The Cabinet of Dr. Caligari 
also answers the last question of our paragraph. A 
sufficiently large part of the American public will ap- 
preciate the best if given a chance to see it. The 
Cameo repertory and the more modest Fifth Avenue 
Playhouse experiment prove that up to the hilt. 

In the inevitable extension of the Little Motion 
Picture Theatre movement to other communities in 
the United States, The Cabinet of Dr. Caligari de- 
serves the post of honor in the vanguard of artistic 
pictures. It has done most to give that movement 
form and substance, to bring it from the realm of 
Utopia to the world of practical possibility. — A. B. K. 


National Board of Review Magazine 

Grey Magic 

THE lirst discovery of the Exceptional I'lioto- 
plays Committee in its new research ol' unusual 
and, at present, unviewable films is Chronicles 
(jj the Gri'\ House. This is a romantic German photo- 
play of the period ot the Saxon barons. Its plot treats 
of the matter of two brothers' inheritance, the conHict 
being brought about by the elder brother's wedding 
of a beautiful serf girl among his father's retainers 
and the younger brother's strife for the lands and 
buildings through his calling down the law of the 
times which required surrender of heritage in the 
event of a noble male heir's marriage with a woman 
of serf rank. It is a kind of grand opera plot 
worked out with dignified leisure against a scenic 
background of medieval character — a background 
structurally, naturalistically and imaginatively isel- 
dom, if ever, equalled in motion pictures from the 
standpoint of stylistic photography and setting. 

The outstanding quality of the picture lies in this 
use of background and its seizure by the camera. It 

lias been largely a matter of actual structural invoca- 
tion. Castle, moats and outlying buildings have been 
manufactured by the stonemason's, the woodcarver's 
and the scenic artists's skill. In no sense are the 
results the same as those we usually look for as ris- 
ing on the "lot" — the studio outdoor stage. Stone, 
vvood and metal appear not as painted canvas and 
nailed-together stuff of the work-shop, but as ma- 
terials of age, shaped and colored by use, against 
which wind and rain and sun have played for very 
long and which the earth has borne of old on her 
breast antl clutched to her with slow-fastening hands 
of soil, root and tendril. From the antiquarian view- 
point the film is a museum with its exhibits set up in 
their natural aspect and environment. A past time 
is restored and life re-created. Scenery is made a 
part of mood and emotions. Caliyar'i uses one kind 
of expressionism to do this, The Grey House uses an- 
other. The first is appropriate because it is fantastic 
and strikingly impalpable, as it should be to give the 

Dfcember, \inrteen Twerity-iix 

air of terrorful events. The second is right because 
it is reproductive and powerfully solid so as to give 
the feeling of slow, closing fate, of human life mov- 
ing toward ruin in the midst of its massive and more- 
enduring monuments. 

The Grey f/oii.w iilm is a great picture as greatness 
relatively exists in cinegraphic accomplishment. It 
is art in its purpose, conception and meaning and in 
the way its creators have gone about its making. The 
first aim was to present pictures that would last in the 
mind after the screen became dark, as fine painting 
and etching linger as impressions when we leave tlie 
gallery. The second was to set in movement across 
the canvas a story of human events that would link 
the pictures with a deeper interest and make them ex- 
pressive of a period of man's life and therefore 
memorable as a curtain before which drama is un- 
folded. That the plot is definitely romantic and of 
the narrative kind detracts no whit from the success 
of the attainment, for drama of great dignity and 
pictorial power springs every now and then in en- 
chanting moments from the screen. 

The whole picture is potent with this quality of 
enchantment. It has a curious magic. It is more 

profoundly magical than Ciili(/ari; only the Swedish 
film, The Stroke of Midiiii/hl, approaches it in this 
respect, and only certain other Scandinavian films of 
medieval times resemble it. Their finish, however, 
is not to be compared with the wrought framework 
and aged, carven covering of The Grey House. 
Moreover, its photography utilizes the most mod- 
ern knowledge of lighting and exposure. Close- 
ups, foregrounds and longshots preserve a matching 
of tone, color and light condition unrivaled. Sun- 
light falls as in nature. Evening sequences are dusky 
throughout. When the moon is out, its beams lie 
upon faces and objects nearby as they do upon the 
planes of distance, with not too much more outline 
and with little less eerie effect. The sum total impres- 
sion received is that of silver greyness touched with 
the black of etching. It is a grey magic that finally 
casts the spell. 

And here movement and quality of atmosphere 
have been caught more successfully than heretofore. 
Air and wind, just as light and shadow, have been 
photographed with truth. When the grasses bend 
or the boughs toss, an aeroplane propeller does not 
seem to be just beside the camera, nor someone throw- 


National Board o/ Review Magazine 

ing Sticks stationed overhead. Moorlands spread out 
and trees stand up, the first open to tlie light and 
shadows, the second fixed against the bending will 
of nature. Real rooms with real walls in real build- 
ings are photographed by the light streaming through 
windows. Interiors are not flooded, but the light 
falls or converges naturally on groups of people 
standing in or passing through it. Where a window 
gives light, there light is derived, not through some 
crack in the scenery. The gain is immense in cine- 
graphic realism and pictorial truth. 

In this film a ghost walks for almost the first time 
in cinematics. The suggestion of what could be done 
in screen treatment of the supernatural is overpower- 
ing. The screen sends chill and terror into the audi- 
ence. This is a sequence where the dead wife of 
the elder brother appears as a spirit to warn him of 
a plot to abduct his son. Here the camera penetrates 
through flesh to the spirit world and shows its move- 
ment, and if that world may appear to the mortal 
sight, we feel sure the visual impression would be the 

same as that which the film tells us it is. Done with 
this treatment Hamlet's ghost would stalk upon the 
ramparts without the audience feeling the phosphor- 
(lus presence of a too fleshly actor; Banquo would 
come into the feasting hall an impalpable presence of 
horror; and the witches' moor would show not to 
.Macbeth only but to the audience as well the shapes 
and shadows of his dread. 

Surely there is an audience in America for this 
film. Yet it is a long film — full ten or twelve sumptu- 
ous and unforgettable reels. Someone here might 
feel impelled to edit it and someone to cut it; there 
would come a loss thereby to the person who can take 
his sitting before the motion picture in its dignity with- 
out yearning for slapstick or for pollyanna. — W. A. B. 

{Produced by UFA. Story by Thea ion Harbou. 
Directed b\ Arthur von Gerlacli. PItototjrtJphed by F. 
./. JVagner. Principal players, Lit Dagover, Arthur 
Kraussneck, Paul Hartman, Rudolph Forster, Ru- 
dolph Rittner.) 

What the Movies Did to Halloween 


Editor "The Motion Picture" 
Motion Picture Producers and Distributors of America. 

WHEN I am a little older I shall undoubtedly 
become reminiscent about the front gates I 
removed on Halloween and the porch chairs 
1 hung in the trees, and the scares I gave to elderly 
ladies who ought to have known better than to fare 
forth on so unhallowed an evening. 

There is many a good man and many a good 
mother too, I dare say, who would like nothing bet- 
ter than to wring my neck in company with a lot of 
other necks whose owners 1 might mention, except 
that the owners are mostly stolid and staid business 
men now with reputations to guard and with young- 
sters coming on who must never even suspect that 
their dignified fathers were guilty of anything more 
alarming than fidgeting on Sundays when they had to 
stay for church and failing to be tuneful in their sing- 
ing of the hymns. 

Halloween was always a great occasion with mc. 
.\nd like any great occasion it usually ended with a 
few broken noses, a battered right eye or two, and 
goodness knows how much destroyed property. In 
fact, a familv considered itself pretty lucky if some 
member wasn't permanently disabled, shuffled off, or 
left to view a home in ruins and a neighborhood in 
tears. It took these things in the old days to have a 
good time. 

But how things are changed! Somebody or other 
got the idea that destroying another man's property 
and scaring his wife out of her wits and blowing off a 
neighbor's thumb while burning down his barn were 
intolerable nuisances. Policemen got positively mor- 
bid about it. Everybody in fact thought something 
ought to be done — that steps should be taken. Every- 
body was interested and agreeable — except the chil- 
dren. They didn't even know there was an objection. 

A few days ago another Halloween was observed 
or celebrated or endured — I forget just which verb 
is used for such a holiday. 

In various towns throughout the country, I suppose 
boys were still boys and many irate fathers still 
barked their shins on knotty trees climbing for sus- 
pended rockers, that thumbs were blow-n off while 
barns were being burned down and that everybody 
had a good time paying for some enormous losses. I 
say I suppose so, because after all the boys of today 
aren't any better than their fathers were before them. 

But Chicago wasn't among those cities celebrating 
or observing or enduring Halloween. Which is 
exactly the point I have been trying to reach for 
some time, even if I have become reminiscent in ad- 
vance of my years. But thereby hangs a tale, as the 
saying goes. And the tale is this: 

Decembfr, Nineteen Twenty-six 

The good citizens of Chicago decided that Hal- 
loween could be celebrated just as enjoyably and 
honorably to ttie satisfaction of All Souls by sanc- 
ness as by wantonness. The superintendent of 
schools thouu;ht so. The mothers and fathers thought. 
so. The teachers tiiought so. .\nd the chiklrcn sup- 
posed so. 

Anyhow, everybody agreed to try it — once any- 
how. Everybody began talking about I lallowecn — 
a Sane Halloween. But the school authorities did 
the loudest talking. Tiiey talked to the moving pic- 
ture man. 

As a matter of fact they talked to the Balaban & 
Katz theatre management and to the Chicago Theatre- 
Owners and to the industry generally, and after out- 
lining what was proposed, lit was agreed that sixty- 
nine m^ition picture theatres in the City of Chicago 
sliould be turned t)ver to a special cliildren's program 
on Saturday morning before Halloween. Programs 
of pictures which the children would like purticuhirly 
were arranged. 

Two hundred and twenty-six public schools, eighty- 
one parochial schools, and one private school were in- 
vited to participate. 

On Saturday morning 112,450 seats were tilled 
amid what anybody who has ever been to a Saturday 
morning siiowing for children knows must have been 
the cheers of a victorious army on the heels of a 
fleeing foe. 

The Chicago schools are quite large, aseraging 
about 1200 pupils to a school, and it was possible 
therefore to invite only the older pupils. 

There was no expense to tiie schools and no money 
was spent by the Sane Halloween committee of school 
and civic authorities. But the shows cost approxi- 
matelv 5225,000 — a sum born by the theatres in- 
volved and covering loss of income from films, de- 
preciation of one day's business, and actual operating 
cost of light, music, and service. 

Barney Balaban was chairman of the motion pic- 
ture committee and Jack Miller and J. J. Simpson 
were members of the executive committee, working 
with William McAndrews, superintendent of schools, 
and the various civic group representatives inter- 
ested. About thirty such groups were enlisted in tiie 
work, including the State and City Federation of 
Women's Clubs, Association of Commerce, Union 
League Club, City Administration, Public and Paro- 
chial Schools, the League of Women Voters, and 
the like. 

Balaban and Katz made a news reel whicli was 
shown throughout the city calling attention to the 
necessity for safe and sane observance of Halloween. 

And what were the results of this lesson in civic 

R. O. Witcraft, principal of the Lloyd School in 
Chicago, sums up the results as follows: 

"We gained several things by the use of the 

theatres. First, tiic pupils were impressed by the 
magnitude of the project, in meeting several other 
schools at the theatre all equally interested in a sane 
Halloween. A bigger civic consciousness was thus 

"Secondly, wc thereby offered a quid pro quo; you 
are given this tun and entertainment, now sacrifice 
your inclination to rowdyism. 

"Thirdly, an opportunity was given on Saturday, 
on the brink of the time when the revelry would 
break out, to make a final appeal. This appeal was 
made in many cases by locally prominent men, en- 
listing support outside the school management. 

"I'ourthly, we secured publicity through the news 
reel siiowing well known people aiding our work. 

"Chicago was 97% as orderly on Halloween as 
on any other evening." 

Tlie shows were really a test in civic conduct and 
in order to determine results accurately, Mr. 
.McAndrews asked the cooperation of parents every- 

"Don't let children go out on the streets without 
extracting a pledge from them that they will attend 
one of the parties arranged by the Board of Educa- 
tion or park boards and that they will refraan from 
vandalism," he urged. 

The parties were the culmination of several weeks' 
preparation for a sane observance of Halloween and 
their success is attested by the record quoted by Mr. 

And thus, so far as I know, ended the old Hallo- 
ueen in Chicago. 

Suggested Code for Critics and 

By Syiiioti Gould, Director Film .irts Guild 

( 1 ) Fidelity to the individuality of the cinema art. 
To what degree does the tilm make use of the inher- 
ent and intrinsic possibilities of this new art? (2) 
Story. Is the photoplay a mere transposition of a 
novel or a play, or does it attempt to create its tale 
in terms of true cinema? (.3) The cast. Are they 
merely transposed from the stage with all the routine 
tricks of the stage, or have they developed the art of 
pantomine with a true and inspired talent? (4) Pho- 
tography. Has the camera man made full use of his 
instrument, extracting from situations and groupings 
of characters certain "angles" and "shots" which set 
off the scenes and action most vividly and penetrate 
to the core of their meaning? (5) Titles. Has the 
use of titles been minimized? Have they been used 
sparingly — as a pique to the imagination — or have 
they been sprinkled over-generously, beclouding the 
continuity and characterization, and used as props for 
the general weakness of the tilm? (6) Composition. 
{Continued nn page 10) 


Saliunol Bnard nf Riju-n .Magazinr 

The World iMission of the News Film 

Emanuel Cohen, Editor of Pathe News, Is Interviewed Following 

a 14.000 Mile Tour Through 11 European Countries 




OW many of us have ever stopped to think 
what an important factor the News film phiys 
in world aHairs and international understand- 
Emanuel Cohen, Editor of Pathe News, the 
pioneer in its field — having been established for over 
fifteen years — recently returned from a seven weeks' 

"Third, we have the scheduled events, events which 
arc announced to take place on a certain day. such as 
riie inauguration of a President, the opening of the 
World's Series or the Yale-Harvard football game. 
In order to obtain pictures of events, especially those 
ot the first and second class, one readilv sees how 

European tour, studying conditions and enlarging his necessary it is to maintain a world-wide organization 

P'oreign Staff. Siiortly after his return to New York with men stationed at critical points so that they not 

we visited .Mr. Cohen to ask him about Pathe News only cover the scheduled events that occur in those 

in general as well as some particulars about his trip, territories, but also are within reach of any unex- 

In the course of our talk he touched upon an inter- pected events or can follow up impending events, 

esting and important phase of his work, bringing to The Pathe News in its fifteen years of experience has 

our attention the world-wide mission of the News developed such an organization so that the reel we 

film, which is even more important than its value as now produce represents the total work of thousands 

a unit of screen enter- 

"There are three 
types of news", .Mr. 
Cohen explained. "P'irst 
there are sudden news 
events like the Japan- 
ese earthquake, tht 
Santa Barbara earth- 
quake, the Shenandoah 
disaster and the recent 
Florida hurricane. 
These events happen 
out of a clear sky, as 
you might say, with no 

"Second, we have tiie 
field of impending 


S( h.\K I K(i-\1 1 HI. 

lA.MI ill KKU A.\K I .\KK.\ l:\ 


of men distributed 

"Very often I am 
asked how we are able 
to get men to the scenes 
of action in every part 
of the globe. People 
wonder as they sit in 
the theatre how we 
could possibly have 
reached the scene of an 
accident in time to ob- 
tain a picture. In some 
instances it is pure acci- 
dent — the luck of a re- 
porter who may be 
walking nonchalantly 
down the verv street on 

events, or those liappenings which occur as a natural which a building is collapsing. But in the main, it is 

result of preceding conditions. A notable example efficient organization, careful study and preparation 

of this was the Smyrna fire, resulting from the war and quick transportation that make it possible for us 

between the Turks and the Greeks in 1922. One to obtain these pictures. 

could not foretell the Smyrna fire, but by keeping "Quick transportation is especially important. .\ 
close to the news scent of the situation, it was ap- newspaper man can often write a story from beyond 
parent that some tragic occurrence was at least very the zone of action or from hearsay, or he may inject 
likely, in one form or another. We were fortunate into his story his own color and imagination, and 
in this particular instance, for not even the news- then all he has to do is telegraph or cable his head- 
papers kept their reporters in the zone of military quarters. The news film has no such easy short-cut. 
operations, and no other still picture company or "In the first place, when an event occurs a man 
motion picture company was in the field, so that, as with his sixty-pound outfit must be transported to the 
a result of our judgment in this field of impending scene of action. In the second place, he must be 
events, we were able to obtain an exclusive picture, within range of the action in order to obtain a pic- 
"The Smyrna fire film was received in New York torial description of the event. In other words, if 
and released exactly fourteen days after the fire took there is a gun firing in military operations, he must be 
place, 8,000 miles away. This was tlie result of a close enough to get the gun in operation, or prisoners 
special boat chartered for a trip to Italy, where a surrendering. liven the longest focus lenses used will 
plane, engaged in advance, was waiting to transport still compel him to get close enough to show close- 
the film to Cherbourg to meet a trans-Atlantic liner, up scenes. -And then, after his picture is made, he 


If-e^fwiier, Nineteen Txveniy-six 

cannot at the present time wire it. He must actually 
ship it here to New York physically. 

"This calls tor an intiniute knowledge of the most 
expedient methods of shipment, wiiether by train, 
boat or airplane, and of connections between Ixuts 
and trains or airplanes. A correct example of how 
news film is rushed to iieadquarters is presented in 
the dramatic coverinj^ of the Florida hurricane by 
Cameraman Ralpii I'.arle. On the first warninj^ of 
tilt impending storm he prepared to photograph :t 
and was in the midst of the hurricane throughout its 
de\astating sweep o\er Miami. lie was injured but 
continued to grind his camera ami was at one time 
imprisoned for six hours in a wrecked building. 

"Unable to communicate with the Home Office o[ 
Pathe News for instructions, he left the devastated 
area and managed to get to Jacksonville, where he 
established wire communication with New York, ad- 
vising that he would take the film himself. Imme- 
diately an airplane was chartered \Vhich took him to 
Atlanta, where I'athe News had made arrangements 
for another plane to meet him and make the next 
lap of the trip. 

"Earle, almost exhausteti from injuries and hun- 
ger, but refusing to surrender his precious film, was 
carried from the plane to another one piloted by 
Doug Davis, winner of the recent aerial races at the 
Sesquicentennial in Philadelphia. This plane, enroute 
to Charlotte, was forced down in fog and storm at 
Greenville. N. C, Earle then commandeering a fast 
automobile, which caught the Birmingham Express. 

"He was met at Charlotte, N. C, by a Pathe News 
representative who had made arrangements for an- 
other plane to meet him at Boiling Field, Washing- 
ton, D. C. Leaving the train at Arlington and speed- 
ing by fast car to the flying field, Earle entered a 
Curtis airplane with Pilot G. W. Maxim and was 
off on his last lap. 

"The plane bringing Earle was sighted over Jersey 
City at 4:32 P. M. and landed a few moments later 
rt West Side County Park. Immediately upon land- 
ing, I received from Earle's own hands the precious 
film record of one of the world's worst disasters. 

"Earle, due to the exposure of taking his films 
amidst the hurricane and his insistence upon standing 
by his film recordings until he could personally de- 
liver them to the editor of Pathe News, was in a 
state of near exhaustion. He was immediately at- 
tended by Dr. .\Iexander Altschul, of New York 
City, whom I had summoned in response to a tele- 
graphic message from Cameraman Earle from 
Orange, Va., reading: 

'Kindly get doctor soon as possible to take care 
ol feet and legs stop Three days in salt water and 
sand without removing shoes has resulted in bad 

"As soon as the daring Pathe News cameraman 
was placed in the hands of the doctor, his news scenes 
from Florida were rushed to the Pathe News Eabora- 
lory at Jersey City I leights, where prints and titles 
were made in record time, so that the dramatic scenes 
shown in these first pictures from the hurricane dis- 
aster zone might be shown on Hroatlway screens at 
the evening show. 

"Tlien, again, after we have (xbtained these pic- 
tures through such expeditious efforts, we are still 
laced with the problem of getting them to the the- 
atres, so that the public may see the news while it is 
still hot. In all these instances, and many more, we 
have shipped the prints from our laboratory zones to 
the theatres throughout the country so that they ar- 
rive in many cases from twenty-four to torty-eight 
hours after the event. You will readily see that the 
organization of a news film requires not only an or- 
ganization of camera reporters, but also an organi- 
zation of transportation men to mo\e the negative 
from the cameraman to the laboratories and from 
the laboratories to the theatres. 


"The make-up of the news reel is another im- 
portant item. In the first place, it is our policy in the 
Pathe News to give to the public and to the exhibitors 
what the news film or newspaper is supposed to give 
— the big events of the day. Second, our aim is to 
contrast the great news events in the field of politics, 
sport, invention, social progress and so forth, with 
pictures of human interest events. Our aim here is 
to get as much variety as possible. 

"It is, above all, our policy to give the exhibitors 
something different from what they can get in the 
rest ot their films so tiiat they can balance their pro- 
grams and meet all requirements of the theatregoing 

"Years ago the news film was used as a 'chaser' 
between shows. Its manner of exhibition was that of 
a 'chaser' and it served as such. I do not blame the 


National Board of Review Magazine 

public — perhaps tlic quality ot tlie news him in those 
days was not entertaining enough. There are at the 
present time very few instances where the News is 
used as a 'chaser' for the people will stay to see it. 

"I believe that any exhibitor w'ho desires to ob- 
tain the full value of rhe news Him in his show should 
always arrange to exhibit it at the beginning of the 
show. If put at the end of the show or in the middle, 
it sounds a discordant note. The audience is not pre- 
pared to receive it and rherefore does not get its full 
value. Music has a powerful effect in putting the 
news reel over as it does in every type of produc- 

Editor Cohen briefly outlined the necessity for fre- 
quent European trips and then gave us many inter- 
esting facts relative to the world mission of the news 

"The news film has a far higher mission in the 
world than the mere entertainment of its millions of 
followers", declared Mr. Cohen in discussing his sur- 
vey abroad. 

"Ever since its inception Pathe News has carried on 
a quiet but vitally effective campaign aimed at bring- 
ing aibout greater understanding and sympathy be- 
tween nations, by showing one part of the world how 
the other parts live, what problems they face, what 
means they are taking to solve them. My trip has 
further convinced me of the importance of this phase 
of news film activity and, I might truly say — responsi- 

"It is just this sort of endeavor that, in the belief 
of President Coolidge, will eliminate the bitterness 
now feit in certain quarters of Europe for the United 
States and the animosity of American nationals to- 
wards their country's European critics. 

"One thing particularly Impressed me abroad. I 
found wherever I went that Pathe News has a pres- 
tige, a standing in the minds of individuals and gov- 
ernments, that makes its name an 'Open Sesame' 
even in the highest circles. This prestige is based, 
primarily, on the absolute impartiality and fairness 
with which the News presents its message and the 
realization that through the News every country in 
the world may tell its story, state the problems and 
hopes of its people, with full assurance that our pre- 
sentation to the American public will convey an un- 
biased and impartial view. 

"Our European neighbors know that Pathe News 
considers It a solemn duty to deal solely in facts — 
to picture the truth. They feel that when we cover 
any of their activities, fairness and veracity will char- 
acterize our efforts. Fearing no misrepresentation 
from us they have a decidedly friendly attitude to- 
ward Pathe News. 

"The continuation and furtherance of this service 
of understanding Is assured by the high character of 
the personnel of the Pathe News Foreign Staff. This 
unit Is composed of natives of all countries, who have 

submerged self and race in their loyalty for the cause 
in which they are striving. They have adopted the 
American spirit of organization and work as sys- 
tematically and efficiently as if they were right In our 
editorial office instead of thousands of miles away 
from headquarters. 

"There are no boundaries or barriers for the 
efficient News cameramen, they have discovered ways 
and means of surmounting difficulties that otherwise 
would seriously hamper the covering of stories and 
the speedy transportation of film. Cameramen Er- 
cola, Glattii, Wyand, Alberini, Stindt, Dely, Missir 
and all the others of the P'oreign Staff have all de- 
tails down to a science and are functioning better all 
the time. In view of possible trouble in Eastern 
European countries where the spirit of war is still 
In the air, where borders are still massed with troops 
and where clashes are not Infrequent, I added a num- 
ber of new correspondents to be prepared for any 
events that may occur. We must not only cover those 
that actually occur, but also be ready for any pos- 

"It was my privilege during this trip to enter So- 
viet Russia and I found It an extremely interesting 
experience to be able to study at first hand all the 
contradictory reports that filter across the border. 
many of them concocted outside the country. Rus- 
sia, covering one-sixth of the world's habitable sur- 
face and with a population of 140,000,000 must be 
covered by Pathe News just like any other part of the 
world. The walls of mystery that have so long sur- 
rounded Russia have been penetrated. I perfected 
arrangements wath Russian cameramen that assure 
Pathe News of a constant supply of exclusive pictures 
of the Russian people that will be absolutely unbiased 
and unprejudiced. 

"It was also my privilege to visit a number of 
prominent personages in various countries, particu- 
larly Premier Mussolini of Italy. This was Indeed 
a pleasure, for I had long desired a better under- 
standing of this historic figure and his policies in or- 
der that we might more accurately portray Italian 
events In our Issues. I also visited a number of promi- 
nent inventors and scientists w^ho are working on the 
perfection of devices aimed at Improving the motion 
picture industry- 

(Continued from page 7) 

Have the groupings, backgrounds, arrangements of ob- 
jects, &c., been carefully composed to support the full 
significance of a situation? Do the scenes etch them- 
selves on tlie memory or are they merely stereo- 
typed? (Vide "Caligari".) (7) Direction. To what 
extent has the director utilized these suggestions In 
his work? To what extent does the direction bear 
the imprint of his individuality? To what degree 
does it iliffcr Ironi the work n( anv other director? 

December, Nineteen Twenty-six 


Exceptional Photoplays 

Louise Hacknev 
HARtiET Menken 
ICdward a. Morek 
Frances T. Pattlbson 
K. Paulding 

M". R WfcRNFR 


./ de/vrtnu'iit Ji-^oti'd Ik an iinparlial critique of the best in current phnlof>lay 
production. liach picture before beinii listed, is thorouiihly discussed l>\ a I'olunteer 
committee composed of trained critics nf literature, the slaiie and the screen, zcho 
are the sponsors of this department. The printed rez'ieics represent the comt)ined 
e.rpression of this committee's opinions. The rez'ietcs aim to confey an accurate 
idea of the films treated, tnentioninti both their cvcellencies and defects, in order to 
assist the speetator to iKtc the productions with increased interest, appreciation and 
discrimination. The re-^-iezvs further try to brinii to the attention of the reader of 
special tastes or interests, or of seivrely limited time for recreation, those photo- 
plays which fieiiuinely coiitrihiite to the art of the screen. 





Alfred B. Ki ttnkr 


Directed by i'. ^l. Eisenstein 

Acted by members of the Moscow Art Theatre 
and the Proletkult. 

IT was good news to hear that PtiWmkiti would at 
last be given a public showing at a New York 
theatre for all to go and see. This detinitely 
puts an end to the private petting parties to which 
this picture has been treated both abroad and in this 
country. Vot now the public will be able to judge 
for itself and incidentally to judge wliether Max 
Reinhardt and Douglas Fairbanks were right, and 
also many prominent critics and art lovers. 

When the preliminary notice of Potemkiti which 
appeared in our last issue was written a public show- 
ing for the picture had not yet been assured. But 
this advance review had been written in hopeful an- 
ticipation of just such an event and for the sake of 
stimulating a discussion which might accelerate the 
time of its coming. For as soon as the Exceptional 
Photoplays Committee of the National Board of Re- 
view had viewed Potemkin it realized that it had seen 
an unique entertainment and one which contained 
important contributions to the theory of motion pic- 
ture making. 

Potemkin is innovational botli in subject and in 
treatment. In 1905 the crew of the battleship Po- 
temkin, anchored off Odessa, mutineed after vain pro- 
test against contaminated meat rations and either 
slew or drove off its officers. The people of Odessa 
sympathized with the crew and were massacred by a 
suddenly arriving detachment of the Czar's Cossacks. 
The Potemkin took refuge in a Roumanian port and 
surrendered to the Czar's Government upon the 
promise of immunity. This promise was broken and 
the crew was partly executed and partly exiled to 

The picture is a faithful reproduction of tiiis liis- 
torical event. It is neither fictional nor fictitious, 
seeks in fact to avoid this quality altogether, by ad- 
hering as much as possible to a literal transcription 
and reproduction of officially documented facts. Thus 

it assumes, as was pointed out in our preliminary 
notice, the aspect of an enlarged news reel, as if a 
news reel cameraman had anticipated the occurrence 
and had gone to cover it. 

Potemkin therefore has no story thread in the 
ordinary sense of the word, and no hero. The ac- 
tion is carried by groups of people, the crew, the 
officers, the population of Odessa, the Cossacks. Our 
interest does not become attached to any particular 
individual. It is entirely absorbed in the idea of the 
picture, the revolt against tyranny, the happiness of 
sudden freedom, and the release of generous im- 
pulses that well up in the breasts of those who have 
suffered oppression. Then, as a counter movement, 
the tragic motif enters to say, as Shakespeare said in 
his tragedies, that in this world of ours the good and 
the innocent often perish. 

The real hero of this picture is humanity. When 
.Max Reinhardt, the most noted European stage im- 
presario, saw Potemkin he is reported to have said 
that "Now, for the first time, I am willing to admit 
that the stage will have to give way to the cinema." 
It is easy to understand what Reinhardt meant. He 
had specialized in mass drama on a huge scale both 
in large theatres and in open air arenas. The effort 
broke down from its own cumbersomeness. The 
spectator could not take in the whole spectacle any- 
more than you can really take in a three ring circus. 
His magnified theatre suffered from two major han- 
dicaps which do not apply to pictures. The theatre 
spectator is stationary and the movement of a spec- 
tacle can only go forward; it cannot freely go back 
and repeat a previous effect. In a picture the spec- 
tator can be moved about at will as the camera moves 
and any effect can be instantly re-enacted. 

Potemkin plays rings arounii the stage spectacle; 
it achieves its desired effects with the apparently 
effortlessness characteristic of all good art. It plays 
havoc no less with our previous notions of what con- 
stitutes proper material for making a picture. We 
had just arrived at the notion that pictures must 
cease to borrow from literature and must be made 
from original scenarios cinegraphically conceived. 
Potemkin seems to say that not even this is necessary. 


It fosters the revolutionary idea that anything, cine- 
graphically photographed, can be made to fascinate 
the eye. A clerk, getting up in the morning, washing, 
dressing, breakfasting, on iiis way to business, at 
work during the day, returning home to supper and 
in the evening going to a movie, could be made into 
an absorbing picture. 

One wonders what would have been the history ot 
pictures if the first directors, instead of going in for 
trick effects and photograpliing train robberies, 
had set out to photograph simply what they saw, had 
allowed the camera to lead them into its virgin field 
of new wonders instead of harnessing it to the tread- 
mill of the jaded drama. Perhaps Potemkin indi- 
cates that the motion picture will have to go back 
to this age of innocence, that it must, like the 
Romantic Movement t)f the early Nineteenth Cen- 
tury, recapture its innocence if it is to avoid the same 
death which is gradually stiffening the theatre. 

The attempt was made in our comment on the 
picture last month to convey some idea of the techni- 
cal theory on which, apparently, it was produced. 
Perhaps the most notable device was the shortness of 
the sequences and their continuous change; some of 
them are only ten frames long. This is responsible 
for the extraordinary "liveness" of the picture, its 
vibrant quality. The camera roves about with a sort 
of gasping haste as a person actually on the scene 
might do in a vain attempt to remember everything 
that is passing before his eye, with the only difference 
tliat the camera never loses what has once passed be- 
fore its lens. A further effect is achieved by prefer- 
ring the part to the whole, constructing the sense of 
the whole by emphasizing the parts. Thus the whole 
cruiser Potemkin is rarely shown but we get a marvel- 
ous sense of it by seeing what each part is there for 
and how it works. The ship becomes animated for us, 
it becomes active to the point of acquiring a personal- 
ity. The same technique is applied with equal success 
to the mob scenes. Here again the effect is never stud- 
ied; the people move oblivious of any megaphone; 
their gestures are never tuned in unison. 'I he natural- 
istic quality of these mass movements is a distinct ad- 
vance over even the best German achievements in this 
important part of motion picture art. When we con- 
sider that S. M. Eisenstein, the director, is only 
twenty-eight years old and that this is only his second 
picture, the promise of further contributions from 
him to the art of the screen seems bright indeed. 

{Produced by the Mo.uozv ht Theatre. Distrihnl- 
ed h\ .^iiikiun Corp.) 

"Of those w-ho say 'we are giving the public what 
it wants,' I would ask 'which public?' \ vast portion 
of the public has never been touched by the magic 
of the screen nor will it he until more frequent 
achievements of permanency anil universality are 
shown." — Maurice Tourneur- 

Sational Board of Review Magazine 

Hotel Imperial 

Directed by Maurice Stiller 

Phutoyraphed by Bert Glennon 

The Cast 

.■I una Sedlak Pola Net/ri 

.hidre/is Farkas {.ilmasy) James Hall 

General Jaschkieivitsch George Siegmann 

Elias Butter man Max Davidson 

Tahakoicitsch Michael Vavitch 

Anton Klinak Otto Fries 

Baron Frederikson Nicholas Soussanin 

Maj. Gin. Siiltanov Golden IVadams 

AWAKTIMH story, part romance, part thrilling 
ad\enture, swiftly moving and expertly told 
in tile language of the camera, gives us back 
the Pola Negri we have known of yore and effec- 
tively wipes out the stigma that had become attached 
to her of a good actress gone wrong. Her come-back 
has little of the spectacular about it; she does not 
burst upon us in a glittering, overwhelming role which 
dwarfs the picture. A modest wedding to her art, 
not a suspiciously splendorous cathedral ceremony 
has "made a good woman of her" again. A first 
rate Pola in a first rate picture makes a conjunction 
that is auspicious for the future. 

The story is told swiftly and economically with the 
camera industriously searching for significant details 
and making the most of them. The opening scenes 
are laid in an old world hostelry of ancient vintage 
with individual heating plants for tin bath-tubs en- 
cased in wooden frames and other signs of traditional 
inconveniences. Hither has staggered an exhausted 
Austrian Hussar officer after a vain attempt to ride 
through the encircling Russian lines. We see him 
first charging through the town in the murky night 
with a handful of companions only to run into the 
Russian sentries. Luckily escaping by taking refuge 
in the hotel he drops down on the nearest couch, dog 
tired. This brief alarm and skirmish in the suddenly 
awakened quiet streets and the utter exhaustion of 
the hard riding, worn soldiers, effectively creates the 
atmosphere of war without panoramic shots of battle- 

The aristocratic officer, Lieutenant Almasy, is dis- 
covered by Anna Sedlak, the hotel chambermaid. A 
hurried consultation takes place between herself, the 
factotum of the hotel, and the cook. The presence of 
the Austrian is embarrassing. They will all be sus- 
pected bv the Russians if they shelter him, wrn] the 
cook is worried about his own skin. But Anna is a 
romantic creature, much given to reading novels 
about princes and maids of low degree. Here is a 
chance to live one of her romances. She has the 
officer masquerade as the hotel waiter despite the 
dangerous doubts and jealousies of the cook. 

This perilous situation suits Almasy very well. 
There is no way of escape anyway and here he is in 

Dfcember, \iiieteeii TlLi nty-six 


a position to spy upon the Russian staff and possibly 
obtain some intorniation useful to tlic Austrian cause. 
For the present at least lie is sate. Meanwhile, Gen- 
eral Jaschkiewitsch, the leader ot the Russians, has 
gotten the typical angle of conquest on Anna. She 
has her hands full tiying to ward off his advances 
and to shield the hero of her romance; she is gettinjj; 
more thrills than she has been bargaining for. 

The next move of the Russians is contingent upon 
the information of a famous spy who is sent out once 
more to penetrate the .Vustrian lines in the guise ot 
a peddlar and report on the Austrian artillery 
positions. Alnuisy, as yet unaware of or indifferent 
to Anna's interest in him^ focusses his attention upon 
tliis spy. That is his man and he intends to get him. 

Meanwhile Cieneral Jaschkiewitsch does not in- 
tend that Anna shall put him off much longer. He 
has bought her an outfit of fine lingerie hoping that 
they will further his coy suit. But Anna plays him 
along though at the sacrifice of Almasy's scarcely 
awakened illusion about her. Almasy proceeds to 
dispose of the returning spy by shooting him in his 
bath before he can di\ulge his \ital information. He 
does this with little forethought for his own safety, 
intent only upon sasing the Austrian cause, and prob- 
ably quite willing to be shot for his pains. 

But now Anna pulls her big scene. Things have 
been working out quite according to the best pattern 
of her favorite reading. Here is a chance for her, 
lowly maid, to save her Prince Charming. But, be 
it said to her credit, she has probably quite forgotten 
about the literary lure of the situation for she has 
fallen deeply in lo\e with the handsome officer. She 
clears him before the court-martial by throwing away 
her reputation, saying that Almasy was making love 
to her in her room at the time of the murder. Poor 
Jaschkiewitsch, wasting his hungry heart and his fine 
lingerie on such a trollop I Almasy slips away that 
night and helps to turn the impending battle against 
the Russians. 

This story, intriguing and well constructed as it 
stands, is told in satisfying picture form by a director 
and cameraman who knows their business thoroughly. 
Scene flows naturally into scene, and the connection 
between sequences always smoothly satisfies the visual 
expectation. To know your technique and to use it 
while hiding it, so that the imagination of the specta- 
tor can always revel in the effect without becoming 
too conscious of the means employed to achieve that 
effect is the secret of good art, here as well as in any 
other medium. To give just one example. Jasch- 
kiewitsch, in his cups, pours wine unsteadily and im- 
patiently as his mind is on Anna. But the spectator 
is simultaneously interested in Almasy's plan to dis- 
patch the spy. We see the wine spilled over the 
table and dripping down to the floor. As we watch 
it, the camera dissolves directly to the water running 
out of the taps into the bath which is to be the spy's 

last. And we foresee that where wine and water is 
flowing, blood will soon be flowing too. A piece of 
imaginative camera work! 

The acting is on a par with the direction and cam- 
era work. As we have already said, Pola Negri does 
work that is unostentatiously good. Her acting 
makes the picture. It is not a case of the picture 
making the actress. Which is as it should be. And 
with no over-emphasis on her stardom, the good 
work of the other actors can stand forth without 
invidious comparison. Their efforts too, help to 
make the picture. James Hall as Almasy earns 
shoulder to shoulder merit with .Miss Negri, (ieorge 
Siegmann as General Jaschkiewitsch does a line piece 
of character work without any of the Von Stroheim 

Hotel Imperial was directed by Maurice Stiller, 
the Swedish director, under the auspices of Erich 
Pommer, the German production genius, with the 
help of Bert Glennon, an American cameraman, 
after an American adapter had worked upon the play 
from the Hungarian author, Lajos Biro, for Pola 
Negri, the Polish star. Quite an international con- 
glomeration, showing perhaps that good motion pic- 
ture art can flourish wherever talent is gathered to- 
gether whether here or abroad. 

{From the novel by Lajos Biro. .Adapted by Jules 
Fiirthman. Produced and Distributed by Para- 


It has come to our notice that The Teniplress, re- 
viewed in the Exceptional Photoplays department of our 
magazine's last issue, has been tagjjed with a conven- 
tional happy ending — at least in the prints intended for 
general circulation. The film in its original form closed 
with a scene which, while melodramatic, showed the 
heroine — cjuite convincingly — at a turn of the road to 
which fate logically might ha\e led her. To that ex- 
tent there was evinced a conviction on the part of the 
producer strong enough to set aside what are usually 
considered box office demands — that is, in particular, 
the desire of the popular audience to have its finales 
trimmed with a wreath of orange blossoms bearing a 
card of assurance that "they li\ed happily ever after." 
While this change in Tin- Temfilress' ending does not 
necessarily change the decision that the film is one of 
sufficient merit to be listed among the exceptional pic- 
tures, it does warrant a toning down of whatever en- 
thusiasm was displayed as to its approach to plausibility 
and truth. At the end of our review last month we 
said, alluding to the film's closing sequence: . . . "here 
the thin ghost of a de Maupassant or an Anatole France 
seems for a moment to stand, considering the strangeness 

of human adventure with finger on lips ." Because 

we wish to make our feeling always as clear .as possible 
to our readers, we withdraw this statement. It is true 
that a happy ending to this film tends to make the 
strangeness of human ad\enture all the more strange, 
but not with a strangeness that the two authors named 
would ever have been the least bit interested in. And 
as for their ghosts, the\ would have fled the scene. 


National Board of Rei'iev.' Magazine 

What Price Glory 

Direclt-J by Rnoul Walsh 

Photoarnfihed by Barney McGill 

The Cast 

Sergeant Quirt Edmund Lon'e 

Captain Flagg liitor McLiK/len 

Charmaine Dolores Del Rio 

Hilda of China Phyllis Haver 

Carmen of the Philippines Elena Jurado 

Camille, the Cook Matilda Comnnt 

Lieutenant Moore Leslie Eenton 

Private Letcisohn Barry \'orton 

Private Kiper Ted McNamara 

Private Lipinsky Sammy Cohen 

French Mayor August Tollaire 

Cognac Pete ll'illiani / . Mong 

Mulcahy Pat Kooney 

WJI.rr PRICE GLORY is rattling good en- 
tertainment plus a Jewisli-lrisli comic strip, 
plus war hokum, lit up with occasional gran- 
deur, salted with forthright human nature, and spiced 
with petticoat appeal. It is a rip roaring, Hell's bell- 
ing. thunder-and-Iigiitning performance. Nobody 
could honestly sit through it without getting a laugh, 
a thrill, and perhaps a shock. It is one grand and 
glorious movie made for the movie goer and getting 
him just at the very moment when he was all set to 
be gotten in just that way. 

fFhat Price Glory has both the ad\antages and 
the handicaps of a follow after. It did not have to 
take any pioneer's risk. When King Vidor was fin- 
ished with The Big Parade he did not know what he 
had fashioned, just as Laurence Stallings and Max- 
well Anderson did not know whether their play would 
not be mobbed off the stage when they wrote "What 
Price Glory." Both these dramas, it must be remem- 
bered, had the quality of a daring protest. They 
were attempts to say that the War was not only glory 
and patriotism and high idealistic self-sacrifice. It 
was also for many among those present, nothing more 
than a continuation of their natural cycle of egotisti- 
cal, animal activities, with no apology for being just 
that, plus occasional flashes of an often unwilling 
heroism. In its original intent Stallings' irony and 
bitterness, notably in The Rig Parade, cut even deeper 
than that. He was protesting against tlie hollow, 
smug literary productions of the day which dressed 
up our soldiers as heroic puppets because a willfully 
blind and sentimental public wanted to see them tliat 

At that time it took courage to say that many of 
our soldiers were mainly interested in wine and wo- 
men, that their personal animosities concerned them 
more than the somewhat Messianic democracy for the 
sake of which we officially went into the war. JVhal 
Price Glory reaps all the benefit of this successful pro- 
test. Its makers knew that the public today was sold 

so on the idea tiiat soldiers were concerned only with 
wine and women and that they were at all times in- 
exhaustible humorists, that they could universalize 
the idea. They could safely make a picture showing 
war to be a vast orgy into which actual battle came 
only as an occasional nuisance and interruption. 

We do not wish to be misunderstood as having any 
censorious objections to this omnipresence of alcohol 
or as gainsaying most of the humor of the picture. 
The reader has perhaps been present at a dinner party 
where a slightly inebriated guest insisted upon un- 
loading all his funny stories. liach of his stories may 
have been good but they monopolized the entire con- 
versation and prevented us from getting acquainted 
with other interesting guests, making a rather top- 
heavy evening of it. Something like that has hap- 
pened here, leading both to an artistic distortion and 
a swerving from the truth to life quality which no 
work of art can affortl to neglect. 

Starting with tlieir premise producer and director 
turned out just the sort of picture one would have ex- 
pected and did it startlingly well. Sergeant Quirt and 
Captain Flagg are mighty in their cups, unquench- 
able in their profanity, and irresistible in their rough 
imd ready love making. The various side-shows are 
no less effective. Privates Kiper and Lipinsky make 
an uproarious vaudeville team and their little drunk 
act is just about as uproariously funny as any scene 
of inebriation ever put on the screen. Charmaine is 
all that could be desired as a typical soldier's light 
o' love and a distinct compliment to Sergeant Quirt's 
and Captain Flagg's excellent taste in "broads". Yes, 
tlie soldier's life is a merry one. 

Now all this, while it is very good is also very 
obviously hokum. There is something too much of 
this, as Hamlet remarked to Horatio. It goes on and 
on for over eight reels out of the twelve with never 
a company regulation to dampen the goings on or an 
M. P. in sight to curb the general exuberance. These 
shadow soldiers missed half the fun which came in 
doing the forbidden things and getting away with 
them under the nose of their superiors. They did 
them without the excuse of celebrating a victory or 
enjoying a leave of absence behind the lines. Thev 
did them, we suspect, largely because the director of 
the picture asked them to oblige. 

The picture contains two scenes of battle action 
when the merry marines are called away so incon- 
siderately from their favorite dish in order to push 
back the enemy. We leave it to more competent mili- 
tary authorities to judge whether they approached 
the real thing. To us they seemed rather movie in 
conception and execution, fire-works rather than gun 
fire, with trenches suspiciously intact after heavv 
shelling and ineptitudes like Captain Flagg running 
the entire length of his company to give his com- 
mands instead of iiaving the sergeants pass them 

Dffimbtr, Nimtien Tuenly-six 

down the line. But tliey would pass it tlicy hcltl any 
real interest in the story. 

That is where the construction ot /"/;<■ tiitf Parade 
was both better and simpler. There, too, the spec- 
tator's sympathies were involved in tlie fortunes of 
several individual soldiers. Then, wlien the army 
moved forward into battle we continued to follow 
these men and found ourselves vitally concerned in 
their fate. That is <)h\ iously tlie way to keep the in- 
terest in a battle picture intact. The iiuman interest 
is preser\eii anil the narrative goes on uninterrupted- 
ly. Your battle scenes mean something tiien instead 
of being mere News reel inserts. A good picture 
should be either one thing or the other, a portrayal 
of actuality or consistently Kctional. 

That is the major artistic fault of the battle scenes 
in ff'hat Price Glory. P'or the most part the pro- 
tagonists of the story disappear into them and our 
interest disappears with them. Prom this point of 
view too the magnificent lines of the original play, 
"There's something rotten about a world that's got 
to be wet down every thirty years with the blood of 
boys like these!" is almost out of character in the 
mouth of the Captain Plagg of the picture. It 
sounds dangerously like a rhetorical title. 

Thus on the whole ff'hat Price Glory, despite its 
successful bid for amusement values, is artistically 
lazy and complacent. Its construction is episodic, 
without any sense of plot. Sometimes the flow of the 
story comes to a dead stop as it deliberately pauses 
for the long series of flash-backs showing the peace 
time occupations of half a dozen privates, or for 
some irrelevant comic insert. We hold no brief for 
the dramatic perfection of the original play. It too 
was a deliberately episodic character study but with 
this granted each episode had the merit of appro- 
priateness and plausibility. Everything that hap- 
pened could have happened to that particular outfit. 
And Charmaine neither strewed flowers on soldiers' 
graves nor came to feel in the end that real love was 
best after all. She remained incorrigibly what she 
had been in the beginning. 

As far as the acting is concerned — ff'hat Price 
Glory is lifted by one masterly performance. Far 
out ahead of Edmund Loew's attempt to simulate 
Sergeant Quirt's smooth toughness by making faces 
and narrowing his eyes, and Dolores Del Rio's rather 
studied effects, the work of Victor McLaglen's as 
Captain Flagg is a joy to see. He fully measures up 
to Wolheim's original creation of the part. He is 
earthy and profane, gloriously unashamed of himself, 
the professional soldier to the life. 

{From the play by Laiirciue Stallint/s and Alaxiiell 
.Anderson, .-fdapted by J. T. O'Donohoe. Produced 
and distributed by Fox.) 


The Return of Peter Grimm 

Dim till by I ictor Schirlztngtr 

I'ltotof/rtifilied by Glenn Mcfl'iiliams 

The Cast 

Piter Grimm /flex. H. Fruncis 

Frederik Grimm John Roche 

Catherine Janet Gaynor 

James Hart man Richard H^ ailing 

Andrric MacPherson John St. Polls 

Ril\ Henry liartholomiy Lionel Belmore 

Mrs. B/irtholomey Elizabeth Patterson 

Marta Bodil Rosing 

H''ilHam Mickey .McBan 

Annamarie Florence Gilbert 

The Clown Sammy Cohen 

vivid in the memory of most theatre goers 
both on account of the theme of the play and 
the outstanding performance of David Warfield in 
the title role. The immense success of the play was 
justified not only by the intriguing nature of its sub- 
ject — the return of a person's spirit after death — 'but 
by the delicacy of its stage craft which avoided the 
nemesis of incredulity with consummate skill and 
made the play a personal triumph for .Mr. Belasco. 

In turning any play into a picture the sacrifice of 
the dialogue and the problem of inventing cinegraphic 
ecjuivalents for this sacrifice is a constant problem. 
In The Return of Peter Grimm that problem pre- 
sented itself to an unusual degree. For the play was 
truly "enriched by discourse" in the form of a kind 
of Platonic dialogue on the question of immortality 
between Peter and his friend, Dr. MacPherson, rep- 
resenting respectively the mystic and the skeptical 
point of view. 

This humanistic quality, which in the play often 
made the spectator willing to pause and listen, goes 
pretty well by the board in the picture version. Nor 
is tile problem re-stated with equivalent pictorial 
imagination. What is mainly left resolves itself into 
a mere novelty plot interest through having the dead 
Peter very much present in a sort of ectoplastic form 
in order to unravel the plot and rectify some of the 
mistakes of his life. 

Here, of course, the picture excells. Either by 
means of double exposure or through a method of 
mirrored reflections the spirit of Peter is made to 
appear at will, with his unfelt embrace of the arm 
around a character's shoulders or his staving hand 
upon some object held by another, so neatly fitted 
into the negative of the direct camera that the illu- 
sion of his ghostly presence is complete. But whether 
this mechanical perfection makes up for the loss of 
those qualities of the play already mentioned, espe- 
cially for anyone who has seen the play, must be left 
for the spectators to decide. 

(From the play by David Belasco. .-fdapted by 
Bradley King. Produced and distributed b\ Fox.) 


S'lifi'jniil fl'/iiril 1,1 Retiew Magazine 

Selected Pictures Guide 

Rei'iew Committee 

ilonststs of approxi- 
mately 250 trained 
members representa- 
tive of widely varied 
interest.*: whu volun- 
teer llicir services for 
the review of pictures. 

.-/ dcfiartmeut dcvolcd to the hcsl l>of<ular cnlcrltiiiiniciil and proiiram tilins. Department Staff 
Each piiltirc is rcz-imrd hy a committee composed nf members from the Rcie-u 
Committee personnel. Their choice of the pictures listed is based upon principles 
of selection developed through loni/ study of zvhat constitutes a good picture from 
the standpoint of entertainment ^•alue. The findings form a composite opinion of 
each committee's victcs and upon this opinion are based the short rcvlncs and audi- 
ence recommendations of the pictures appcarinn in this department. These rci'ieii's 
seek to briui/ to the reader an unbiased judi/ment of the pictures most Zivrlhy of 
popular theatre patroiun/e and most helpful in "^rotiram buildinij for special shozi'iuf/s 
of selected entertainment films. 


.\lfred B, Kuttnkk 




Key to Audience Suitability 

General audience (composed principal- 
1) ot adults). Pictures primarily inter- 
esting to adults — but pictures not ordinar- 
ily recommended for boys and girls may 
be included in the list if the presentation 
is not objectionable for them. 

Family audience including young peo- 
ple. Pictures acceptable to adults and 
also interesting to and wholesome for boys 
and girls of High School age. 

Family audience including children. 
Pictures acceptable to adults and also in- 
teresting to and wholesome for boys and 
girls of grammar school age. 

Mature audience. Pictures recom- 
mended for the consideration and enjoy- 
ment of adults. 

Note: — Programs for Junior Matinees 
should be selected from pictures in the 
family audience classification. 

* — Pictures especially interesling or ivell 
done but not necessarily "exceptional." 

I'eaturing . 

*The Blonde Saint 

Directed by Svend Gade 

\Doris Kenyon 
I Leii'is Stone 

Novel "The Isle of Life" by Stephan 
D O.MANCE on a beautiful island. A 
'-^ man scorned by the woman he loves, 
kidnaps her and takes her to an Island 
where the natives speak no English. Here 
he proves to her that he can be trusted 
and finally when a plague is killing the 
natives, he takes care of them, and at the 
request of the girl, sends word to her peo- 
ple to come for her. The girl, seeing the 
man risking his life is shamed into doing 
her share, and in work learns to love 
the man she had scorned, so that when 
her aunt arrives, she decides to remain. 
There are bits of beatuiful scenes on this 
primitive island of picturesque rocks and 
long, level beaches. 

For the general audience. 

(First National — 7 reels) 

Bred in Old Kentucky 

Directed by F.duard Dillon 

Featuring J'iola Dana 

Original screen story by Louis if'eadock 

and C. D. Lancaster 
T T is always the last horse, the last 
penny and the last day of the mortgage 
in these racing pictures, so when the 

heroine's horse loses and is shot right in 
the first reel, you can be prepared for 
some new variation in the usual horse rac- 
ing plot. Here, none other than the hero- 
ine tries her hand at being the villain, 
though \v\th the justification of her mis- 
taken suspicions of the hero's previous 
foul pl.iy. She substitutes a dead ringer 
for his entry hoping to split with some 
dishonest bookies when they collect on the 
lost race. But what would you do at 
the very last moment if you were the 
girl and had fallen in love with the hero? 
Well, perhaps she did just that! 

For the family audience including chil- 

(Film Booking Offices — 6 reels) 

^Everybody's Acting 

Directed by .Marshall Neilan 

Featuring Betty Bronson 

Original screen story by Marshall Neilan 
p\ORIS POOLF is left an orphan at 
'—^ eighteen months, when her mother, a 
leading lady of a traveling stock com- 
pany, is murdered by her husband. 
Though Doris loses one father she gains 
five, as she is tenderly brought up by four 
men of the troupe and a newspaper man 
v\ho reported the murder. The five fath- 
ers vie with each other in the love they 
lavish on the chlid. When her happiness 
is threatened by the mother of her wealthy 
suitor, her fathers bring about a happv 
reconciliation. The production maintains 
a skillful balance between romance and 
pathos, and Betty Bronson heads a list of 
film favorites. 

For the family audience including voung 

(Paramount — 7 reels) 

*Exit Smiling 

Directed by Jim Tailor 

Fealurina \^"",'''^' ^'""' 

-'■ Mack Pick ford 

Original screen story by .Marc Connelly 
A LIGHT comedy of theatrical life in 
■'^ the "sticks" with a touch of pathos 
running through it. The drudge of a 
cheap traveling companv which iogs from 
town to town in a single, ramshackle car, 
is consumed with the ambition to act the 
part of the vampire as well as to find 
some not too discriminating male who 
will be satisfied by her meagre allotment 
of good looks. A young man under a 

cloud through a false charge of embez- 
zlement, arrives looking for a job. The 
drudge takes him under her wing, coaches 
him for his part and finally gets the op- 
portunity to act a real vamp in order to 
beguile the villain while the boy is being 
cleared of the charge against him. But 
the boy's heart has been elsewhere all the 
time, and there is nothing for the drudge 
to do except to "exit smiling." 

For the family audience including young 

( .Metro-Goldwyn — 7 reels) 

The Flaming Forest 

Directed by Reginald Barker 

r- , {Antonio Moreno 

Featuring ' . 

IKenee Adoree 

Novel by James Oliver Curwood 
/^NCE more the Canadian Northwest 
^^ furnishes the background for a spir- 
ited pioneer story in which the famous 
"\Iounted " finally bring law and order 
into a community. A renegade half breed 
has assumed despotic control over a large 
area of primitive Canada exacting tribute 
and coveting women wherever he comes 
with his murderous band. Word of his 
outrages reaches the ears of the authori- 
ties and a detachment of the constabu- 
lary sets out on a thousand mile march. 
Though impeded by river crossings and 
forest fires set to harass them, they 
arrive just in time to save the heroine 
and make all safe and well for the lovers. 
as well as for the settlers. .\ beautiful 
color sequence enhances the charm of the 

For the family audience including young 

(Metro-Goldwyn — 7 reels) 

The General 

Directed and uriltrn by ... Buster Keaton 

Featuring Buster Keaton 

I N the role of a romantic locomotive en- 
'^ ginecr of the vintage of 1861 Buster 
wears his hair like a Romeo and looks 
more unperturbable than ever. He is in 
love with a Southern belle and finds him- 
self in disgrace when he is rejected as a 
soldier. He loves his engine with equal 
devotion and turns to her for consolation, 
giving her lots of wood to eat and con- 
siderately removing any little obstacles on 
the tracks that might make her balk. His 
engine's life is indeed pretty much of an 
obstacle race especially when some. North- 

December, Kinetren Twenty-six 

rrn spies steal a train and start « reckinj; 
the roadbed. But Buster Keaton out-ob- 
stacles them handily and takes his engine 
over the rough until she is fairly jumpinj; 
through hoops. His work in this pitture 
is a credit ro the Brotherhood of Locomo- 
tive F'ngineers, Los .Angeles Local. Un- 
doubtedly they will make him a life and 
laugh member. 

For the family audience including chil- 

(United Artists — 8 reels) 

*God Gave Me Twenty Cents 

OirrcleJ by Herbert Brenon 

Featuring Lois Moran 

Story by Dixie II illson in Cosmopolitan 

A SAILOR returning to home port 
•'»• finds that "his girl" is in jail. Long- 
ing for a wife and a home of his own 
and realizing that the girls he knows are 
not the marrying kind, he discovers and 
woos a little waitress, and before the 
next sailing date, he is married to her. 
The girl in jail is released the night the 
boy is to sail away and comes to the place 
where he is having a drink with a pal. 
She hegs him to take her with him and 
playing on his pride as a gambler, she 
matches dimes, "heads she goes with him. ' 
Just before he sails, however, he discov- 
ers that the dimes are heads on both sides 
and so he goes without her. In the mean- 
time his wife has heard that he has taken 
the girl with him. Fortunately she finds 
the same two dimes her husband had 
scornfully thrown on the wharf, and 
learns the truth, so that when he returns 
from the trip thev are again united. 
VoT the general audience. 

(Paramount — 7 reels) 

The Long Loop 

Directed by Leo D. Moloney 

Featuring Leo Maloney 

Story "The Long Loot on the Pecos", by 
IF. E. Hoffman in Popular .Magazine 

AN old time Westerner with lots of 
shooting by a hero who is uncannily 
quick on the draw. He unravels a com- 
plicated cattle rustling mystery while un- 
der suspicion from both sides. Mr. ^Li- 
loney's acting successfully conveys the im- 
pression of a really fearless and resource- 
ful fighter and creates genuine suspense 
The picture is free from extravagant 
stunts which makes it all the more real. 
For the family audience including chil- 

(Pathe — 6 reels) 

A Regular Scout 

Directed by David Kirkland 

Featuring Fred Thomson 

Original screen story by Buckleigh Oxford 
I "HE decided entertainment novelty of 
^ this Westerner lies in the active part 
taken by a detachment of mounted Boy 
Scouts. The hero, intent upon running 
down a particularly mean band of vil- 
lains who make a specialty of defrauding 
old women of their property, makes 
friends with the boys when he stumbles 
upon their encampment. They soon prove 

their good horsemanship in helping him 
to catch the desperadoes and pile right into 
the lights where they prove very effective 
by their force of numbers. They also 
help to clear the hero of a murder charge 
and generally make the plot hum by their 
spirited activities. These Boy Scouts are 
bound to endear the picture to young peo- 
ple all over the country. 

For the family audience including chil- 

(Film Booking Offices — 6 reels) 


Directed by Monta Bell 

Featuring JSurma Shearer 

Original screen story by Halter De Leon 
\ /ALT)F\'ILLE life is humanly and en- 
' tertainingly revealed in this story of a 
young lady who finds herself on the stage 
quite by accident. 

Fresh from business college she comes 
to New \ ork City job hunting, but when, 
answering a want ad for a stenographer 
at a theatrical agency, she is mistaken for 
an actress, and lands a part she is not at 
all averse to accepting. Such unexpected 
fortune turns her head and she becomes 
very "upstage", so inuch so that she lightly 
dispenses with her partner. Time proves 
her mistake in this and several other 
things, but a dramatic climax gives her the 
chance to prove her change of heart and 
her courage as a "trouper", at the same 
time giving the spectators the thrill of a 
big moment behind the scenes when per- 
sonal matters must be forgotten while the 
show goes on. 

The beauty of Norma Shearer and the 
faithfully pictured and titled show-life 
theme, provide good entertainment. 

For the family audience including young 

( Metro-Goldwyn — b reels) 

We're In the Navy Now 

Directed by Edicard Sutherland 

r- , [Raymond Halton 

teatunng tun i} 

III allace lieery 

Original screen story by .Monte Brice 
■Vy-ALLACE BEERY, as a prize tighter, 
' ' and his manager, nicknamed 
"Shrimp", played by Raymond Hatton, in 
trying to escape from a man who is after 
them, form into line with some sailors and 
before they know what is happening they 
are hustled through the preliminaries and 
find themselves booked up for the Big 
War very much against their will. Their 
adventures as "Gobs ' tend to make a 
comedy above the average. 

For the family audience including chil- 

(Paramount — 6 reels) 

be overcome, and of course, a man is 
adopted and since he is a brave and bold 
master, liking only the courageous, a high 
standard of bravery must be maintained. 
.Ml this Ihuiuler succeeds in doing. Mt. 
Kanier .National Park is the picturesque 
background of this entertaining dog pic- 

For the family audience including chil- 

(Fox — 6 reels) 

♦The Winning of Barbara Worth 

Directed by Henry King 

r , ininia Hanky 

leaturing ,' , , ,. / 

[Konald ijolman 

Novel by Harold Bell II right 
''\\7^ANTED, one good dam guaran- 
*' teed to burst — no others need ap- 
ply." Such, one imagines, is the sign dis- 
played on the casting calendar of the studio 
whenever the director is called upon to 
make another of those dam pictures. A 
dam that burst is always a picture, it 
would seem. And if that is what you 
want to see you will enjoy this picture. 
.No finer, bigger dam bursting has been 
done in a long time. This time the set- 
ting is a Colorado desert so that we also 
get some fine desert sand storms. Vilma 
Banky as Barbara Worth adorns the arid 
scene with her beauty and Ronald Colman 
as the misunderstood hero successfully 
bucks the villainous financeers whose cu- 
pidity causes the dam to burst. 

For the family audience including chil- 

(United Artists — 9 reels) 

With Daniel Boone Through the 

Directed by R. \. Bradbury 

Featuring Roy Stewart 

Original screen story by Ben Allah 
T^HIS picture is an entertaining mix- 
*■ ture of romance and history, show- 
ing Daniel Boone in his stamping grounds 
in the wilderness that was Kentucky when 
he first began to open it up for white set- 
tlers, in about 1750. According to the 
story, Boone was in love with a girl 
called Rebe who was also coveted by 
Simon Gerty, a renegade white. Gerty 
conspires with the Indians to discredit 
Boone but fails. The thrilling Indian 
fighting makes good entertainment. 

For the family audience including young 

(Sunset Productions — 6 reels) 

Wings of the Storm 

Directed by J. G. BlystO'ie 

Featuring Thunder, the dog 

Original screen story by Lawrence U' . 

■'* dog's life, from birth through puppy- 
hood, and finally to proud maturity. A 
slurring nickname acquired early in life 
must be lived down, a rival in love must 

With General Custer at the Little 
Big Horn 

Directed by Harry Frarer 

Featuring Roy Stewart 

Original screen story by Carrie E. Rawls 
A THRILLING account of Custer's 
■''• fatal advance into the Indian trap, 
and of his tragic last stand when his whole 
contingent was killed off by the Indians 
before help could arrive. A romance is 
added to the picture to give it more sen- 
timental story value, but the main fea- 
tures of Custer's historic end are faith- 
(Continucd on p. 18 



National Board of Reriiw Magazine 


By the Wholesale 
(Sportlight Series) 

Classes of both sexes in (lymnasium and 
setting-up exercises. 

For the family audience inchidint; chil- 

(Pathc— 1 reel) 

Hula Hula — Honolulu Nights 
(Bruce Scenic) 

Picturesque views of Honolulu and na- 
tive dancers. 

For the family audience including chil- 

(Educational — 1 reel) 

*Pathe Review No. 50 

Fresh from the Deep, a Fish story from 
"Way Down Fast, New Bedford, Mass.; 
Down on the Farm, as it is in the Philip- 
pines; The Flower of the Ancients, the 
Iris; Ncfta the Beautiful, the "F'arthest 
Out" of the Sahara Oases. 

F"or the family audience including chil- 

(Pathe— 1 reel) 

*Pathe Review No. 51 

Red Lumber, Russia; The City of War- 
riors, F>7., the Heart of Morocco; the 
'Gater Grabber, alligator farm, Los An- 
geles, Cal. 

F"or the family audience including chil- 

(Pathe— 1 reel) 

*Pathe Review No. 52 

Voyaging with MacMillan to Green- 
land; Kent, England, the first established 
kingdom of the Saxons; Laboring for life, 
how China's millions must fight to live. 

For the family audience Including chil- 

(Pathe— 1 reel) 

*Pathe Review No. 2 

Sky Paintings; Growing Sugar Cane in 
French Martinique; Fashions of 1927 as 
forecast by Irene Castle. 

F'or the family audience including chil- 

(Pathe— 1 reel) 

Rolling Along 

(Sportlight Series) 

An amusing history of the bicycle. 
For the family audience including chil- 

(Pathe— 1 reel) 

The Sporting Knack 

(Sportlight Series) 

Showing the knack of rhythm and bal- 
ance in various sports. 

F"or the family audience including chil- 

(Pathe— I reel) 


Around the Bases 

(Collegian Series) 

I', iiliinnij George Leuis 

The hero wins the baseball game against 

I'or the family audience including chil- 

(Universal — 2 reels) 

Bring Home the Turkey 

i'ldturing Our Gang 

Comedy of some institutional waifs be- 
friended by a big hearted negro who pro- 
vides them with fun and proper food. 

For the family audience including chil- 

(Pathe — 2 reels) 

Duck Soup 

l'( iitiiritig . 

\Earl Rodney 
\Stan Laiiril 

Hobo comed\ — they impersonate master 
and maid and rent the house to a honey- 
moon couple until the real owner arrives. 

For the family audience including chil- 

(Pathe — 2 reels) 

Felix the Cat in Land o' Fancy 
(Pat Sullivan Cartoon) 

Felix investigates what becomes of 
smoke rings and has some celestial ad- 
ventures and an encounter with a giant. 

For the family audience including chil- 

(Educational — I reel) 

The Nickel Hopper 

Frntitring Mabel Normand 

A dancing instructress at "a nickel a 
dance" hall has a tough time of it with 
awkward dancers and a bad break at home 
with a good-for-nothing father — a timely 
millionaire becomes interested. 

For the family audience including young 

(Pathe — 3 reels) 

{Continued from p. 17 
fully and engrossingly re-told. 

For the family audience including young 

(Sunset Productions — 6 reels) 

Christmas Program Pictures 

Birth of Our Savior I reel 

A Christmas Accident I reel 

Christmas Carol I reel 

A Christmas Errand 1 reel 

Christmas Eve 1 reel 

The Christmas Miracle 1 reel 

Herod. The New Born King....l reel 

Ida's Christmas 1 reel 

Kiddies' Christmas (2 parts) 1 reel 

Knight Before Christmas 1 reel 

Little Girl Who Didn't Believe in 

Santa Claus 1 reel 

Madeleine's Christmas 1 reel 

.Mr. Santa Claus 2 reels- 

Night Before Christmas 1 reel 

Palestine Pilgrimage 1 reel 

'Twas the .Night Before Christmas. 1 reel 

Woodland Christmas 1 reel 

Distributed by Apollo Feature Film Co., 
286 -Market Street, Newark, N. J. 

Scrooge 1 reel 

Distributed by Artclass Pictures Corp., 
1540 Broadway, New York, N. Y. 

.■\ Christmas Carol 3 reels 

Distributed by Central Film Co., 729 
Seventh Avenue, New York, N. Y. 

The Beacon Light 2 reels 

Birth of Our Savior 1 reel 

The Christ Child 6 reels 

A Christmas Carol 1 reel 

A Christmas .'^liracle 1 reel 

The Cricket on the Hearth 2 reels 

The F"airy and the Waif 5 reels 

The Kiddies' Christmas 1 reel 

The Night Before Christmas 2 reels 

Scrooge 1 reel 

Distributed by Edited Pictures Corp., 
71 West 23rd Street. New York, N. Y. 

Bachelor's Babies 2 reels 

Distributed by Educational F"ilm Co., 729 
Seventh Avenue, New York, N. Y. 

Peter Pan 10 reels 

A Kiss for Cinderella 10 reels 

The Goose Hangs High 6 reels 

Distributed by Famous Players-Lasky, 
485 Fifth Avenue, New York, N. Y. 

Handel (Music Master series).. 1 reel 

The Origin of Christmas yi reel 

Distributed by Fitzpatrick Pictures, 729 
Seventh Avenue. New ^'ork, N. Y. 

Santa Claus 2 reels 

Distributed by S. E. Kleinschmidt, 220 
West 42nd Street. New York, N. Y. 

The Fool (Story of a minister, told 

with a Christmas background) . 10 reels 

Distributed by Fox Film Corp., 10th Ave. 
and 55th Street. New York, N. Y. 

F'ive Orphans of the Storm (Ani- 
mated cartoon with holiday 

theme ) 1 reel 

Good Cheer 2 reels 

The Man Nobody Knows (Life of 
Christ, edited and titled by Bruce 

Barton) 6 reels 

Mary, Queen of Tots 2 reels 

Old Scrooge 3 reels 

Pilgrimage to Palestine series. 
Bethlehem; Nazareth; The Sea 
of Galilee; Bethany in Judea, 

each 1 reel 

The Royal Razz (Christmas tree 

comedy ) I reel 

Songs of Central P^urope I reel 

Distributed bv Pathe Exchanges, Inc., 35 
West 45th Street, New York, N. Y. 

A Little F'riend of all the World. 1 reel 

The Magic Hour . 1 reel 

Distributed by Red Corp., 1600 
Broadway, New York, N. Y. 

F'rom the Manger to the Cross... 7 reels 
Distributed by Warner Bros., 1600 Broad- 
way, New York, N. Y. 

December, Nineteen Tu'enty-six 


Better Films Activities 

Editor, Kuiii Kicii 

' . c Li,i;cTio.\ - Nur ci-.\sur- 

slogan ot the Better Kihus National Coun- 
cil of the National Hoard of Review, has 
been adopted by the Los Antjeics District, 
of the Motion Picture Division of the 
California Federation of Women's Clubs, 
of which Mrs. E. H. Jacobs is chairman. 

Mrs. Jacobs writes "W'c have three slo- 
gans for the coming year: — 

Selection — not censorship — the solution. 

Make the best pictures pay best. 

.■\ Junior Matinee in every theatre. 

"In outlining the work," Mrs. Jacobs 
continues, "Our object is a more intelli- 
gent cooperation between the public and 
the motion picture industry. We are not 
to censor but to advise. Constructive co- 
operation brings about better results than 
destructive criticism. VVc endorse and 
recommend films that come up to our 
standard. Others w'e ignore, independ- 
ence of thought brings about honest opin- 
ions, especially when commercialism does 
not enter into it. Seeing many films gives 
one relative discrimination. If we are 
sincere in our demand for better pictures, 
we must patronize only the best. When 
the producers see that only the 'best pic- 
tures pay best' then only the best will be 
made. The people of the community may 
largely control this matter, so let there be 
praise and encouragement for what is 

The District committee has the cooper- 
ation of all of the Federated clubs, Daugh- 
ters of the American Revolution; Woman's 
Christian Temperance Union. Young Wo- 
men's Christian Association, P. E. O.; 
Daughters of 1812; Los Angeles City 
Teachers; University Woman's Club; and 
the clergi,-. 

Duties of a Motion Picture Chairman 
have been outlined for the Los Angeles 
District by Mrs. Jacobs as follows: 

.•\ chairman should be appointed from 
every club, organization or branch thereof. 

Each chairman is to appoint a commit- 
tee, and send in the names, telephone num- 
bers and addresses of same to district 
chairman, preview chairman, and Junior 
Matinee chairman. 

Each chairman and committee to attend 
all conferences if possible. 

Each chairman to keep record of work 
accomplished by her and her committee. 

Each chairman to give reports of such 
work to district chairman monthly. 

Each chairman to arrange for publicity 
for lists each month. 

Each chairman to arrange a motion pic- 
ture program for her club some time dur- 
ing year. 

Each chairman and her committee to see 
as many previews as possible, and report 
on same. 

Each chairman to arrange at least one 
attendance party during year. 

L.kIi ili.mni.ui to have occasional meet- 
ings ot committee to discuss the work. 

Make your ijuestionnaires out conscien- 
tiously. Answer all iiuestions. .Make con- 
structive criticisms. 

Previewing is serious work, and should 
he considered as such, not as entertain- 

If your club issues a bulletin, see that 
the lists are published therein, also posted 
on the bulletin board. 

Keep newspaper clippings of publicity of 
interest to this department and submit 
same to the chairman for district scrap 

Be enthusiastic about your work to make 
it successful. 

Invite your presidents and other officers 
to the conference, also club members. 

Make arrangements for clubs motion 
picture program as early as possible, and 
notify us of dates, and do not ask the 
chairman or any of her committee to come 
and talk less than 15 minutes, then give 
her full directions, specified time, date and 
location of clubhouse. 

Each chairman is responsible for the 
way her committee fulfills their duties. 

Each chairman when called upon for a 
preview, is responsible for some one be- 
ing there. 

See that the one who previews is on 
time, and sends in a full report within 12 

Be sure every one signs her name in 
full, club affiliation, etc., on questionnaire. 

If a previewer fails to attend after ac- 
cepting responsibility, an adequate excuse 
must be given or she forfeits her right to 
preview again, and her club loses its repre- 

I f these rules are followed, we will have 
a very constructive program and can't 
help but build up this department to be a 
most sviccessful unit in this district. 

T^HE Macon Better Films Committee 
prepared an appropriate program for 
the Junior Matinee during Alotion Pic- 
ture Book week which was coincident with 
National Education week in November. 

In addition to the feature picture, two 
educational films were shown — The World 
of Paper and The Making of Books. The 
picture on books, beginning with the earli- 
est books and coming down to the modern 
manufacture of books, showing the presses 
and various processes, was secured through 
the courtesy of Ginn & Company. 

The World of Paper, loaned to the Ma- 
con committee bv the Genera! Electric 
Company of Schenectady, New York, 
shows the epoch making advances in the 
art of writing, printing and paper making; 
how the ancients recorded their thoughts 
in stones, how the Egyptians made papy- 
rus and the Chinese first made paper, and 
how paper Is made today in the largest 
paper mill in the world. 

\A Rb. I . W. CLARK, of Albany, New 
^ ■'• York, writes "At the Junior mati- 
nee, Thanksgiving week, we admitted free 
the first hundred children bringing toys 
which will be distributed to needy children 
at Christmas. When the day was over 
we had received 1,000 toys. The boys 
and girls enjoyed this opportunity to as- 
sist in preparations for Christmas, and 
they had a particularly good motion pic- 
ture program that morning. All clubs in 
Albany arc cooperating in the Junior mati- 
nee work. " 

T~'HE Better I'ilnis Committee of Ruth- 
■'■ erford. New Jersey, through the co- 
operation of the National Board of Re- 
view, will have another invitation presen- 
tation of an E,\ceptional I'hotoplay in 
December. The committee in charge of 
arrangements has increased the invita- 
tion list for this showing, and the event 
is being anticipated with pleasure by those 
persons of Rutherford who are interested 
in the artistic motion pictures. 

T^HK Indiana Indorsers of Photoplays, 
^ which is affiliated w-ith the Indiana 
Federation of Women's Clubs, played an 
important part at the recent state conven- 
tion when a special showing of Jules 
Yerne's Mich.iel Strogoff was arangcd 
as a feature on the convention program. 
Mrs. David Ross, chairman of the In- 
diana Indorsers and members of this 
group gave interesting reports of the con- 
structive programs for better films which 
are being conducted throughout the staet 
with the cooperation of all state organiza- 

\/f RS. R. F. MOYER recently accepted 
'■^'- the presidency of the Cleveland Cin- 
ema Club and has appointed committees 
to serve this year. A special efifort is be- 
ing made to interest all the organizations 
of the city in the work for Better Films 
\\hich is being carried on by this group, 
one of the oldest in the country, having 
been organized in 1916. 

National Board of Review 
70 Fifth Ave., New York City 

January 29, 1927 

Waldorf-Astoria Hotel 
New York City 

Enclosed is cheque for $ 

reserving places 

<$3.S0 per person) 

Wimc . . 
Cilv .... 

Annual Luncheon 


Better Films Conference 

of the 

National Board of Review 

A yearly affair anticipated by many is in the offino; — January 
2ytli, H)2/ being- the date set tor the twelftli annual luncheon of the 
National Board of Review at the Waldorf-Astoria Hotel. New 
^'ork City. 

Those who have attended these events before need only a re- 
minder that now is the time to make reservations for the next and 
we hope, the best one. 

To those who have never been present an invitation is ex- 
tended to attend this annual gathering- of the National Board and 
its friends. Screen stars will be i)resented and good speakers will 
make up a noteworthy program. 

Seatings are made in order of receipt, therefore the Luncheon 
Committee advises early reservations. 

The cost is $3.50 per person, and tables seating eight or ten 
are available. (See page 19) 

The Better Films Conference will be held at the Waldorf the 
two days preceding, January 27th and 28th. 

Out-of-town guests are especially invited to this Conference 
where round-table discussions of mutual problems and achieve- 
ipents are planned, with an interesting program of speakers and 


For details of the Conference write to the 

Better Films National Council of the 

National Board of Review of Motion Pictures 

70 Fifth Avenue 

New York, N. Y. 




{Combining "Exceptional Photoplays," "Film Progress" and "Monthly Photoplay Guide") 
Vol. 2, No. 1. January, 1927 

"OLD IRONSIDES" Fights at Tripoli (see page 6) 
Published monthly by tbe 

National Board of Review of Motion Pictures 

10 cents a copy 

Established by The People's Institute in 1909 
70 Fifth Avenue, New York, N. Y. 

$2.00 a year 



Have you made yours to attend the 



January 29th, 1927 

ONE o'clock 

Waldorf-Astoria Hotel 




January iqiy 

Trulv the Movies are Marvelous! 

Paul Giilkk ^ 

Goiri}; Long on "Shorts" 

P. A. P, 

Kxcff>ti'j/n]l Photoplays 

Old Ironsides 

The Way to Strength and Beauty 

\f i7/-»ii ViQ\-f» V^e^rf* a r A crun^ nf fhf» n1pa»i- 

The Forty Best Pictures of 1926 10 

ures awaiting- you — 

Critical Notes, Editorial 

./. //. K. 1 1 

Fine speakers on interesting subjects 

Motion picture celebrities in person 

Excellent food and good music 

Selected Pictures Guide 12 


If you have not. now is the time to do 
so hy fining out the blank below. 

And remember to bring 

The Canadian The Overland Stage 
Down the Stretch Sensation Seekers 
The Fire Brigade The Silent Rider _ 
The Flesh and the Devil Stranded in Paris 
Heirlooms Summer Bachelors 

your jrtends also. 

Held hy the Law Pell It to the .Marines 
It The Third Degree 
The Lady in Ermine Twinlcletoes 
One Increasing Purpose 

National Board of Review 
70 Fifth Axe., 
New York City 

Non-Fi:ature Subjects 


January 29, 1927 

Overnight from Paris Pathe Review No. 3-5 
Pathe Review Xo. 1 Weatherproof 


Short Comedies 

Enclosed is cheque for $ 

reserving places 

($3.50 per person) 

Are Brunettes Safe? Flashing Oars 
Cinder Path Up Against It 
Felix the Cat Trumps 
the Ace 


Better Films Conference 15 

(■^ Sermons in Pictures 15 





(j',/>\ri</lit 1927, The \titioni 

d B 

oard of Revieiv of Motion Pictures 

National Board of Review Magazine 

t)«. William B. Tower, Chairman 
Dt. MvRON T. ScuDDER, Treasurer 


Edward A. Morcc 

Walter W. I'ctiit 

Mrs. Miriam Sutro Price 

Dr. Myron T. Scuddcr 

Dr. Albert T. Shiels 

Dr. William B. Tower 

George J. ZehrunK 


Fifth Avenue, New York City 
Published Monthly 


Wilton A. Bamett, 

Executive Secretary 
Ruth Rich 

l'«ANCP.S C. Bamett 

Volume 2, Number 1 

January. 1927 

20c a copy, $2.00 a year 

Truly the Movies Are Marvelous! 


Director of Publicity, Uitiier.uil Pictures Corporation. 

WHETHER you, doughty reader, are a con- 
rtrmed moving picture enthusiast merely, or 
whether you are engaged in one of the mul- 
tifarious branches of the moving picture business. 
you are doubtless agreed, that moving pictures are 
the most absorbing phenomenon of the century. I 
agree with you. But unless you have been to Cali- 
fornia and unless you have seen the movies in the 
making, in the words of that eminent traveler and 
miraculous seer, Michael Strogoff. "You ain't seen 
nothing yet!" I had seen pictures made here in the 
east; I had had a certain definite part in making 
them, and a very considerable part in trying to make 
them what they ain't in the public eye; but I had 
never been to California until this year. 

I find it very difficult to use an original expression 
In describing my impression. I have heard so many 
people say that California is unusual, and so many 
people in California use the same expression, that to 
me it seems now quite trite and worn out, but I don't 
know any other word to express it. California and 
moving picture studios are both unusual to the 'nth 

Quite naturally, the first place I visited after set- 
tling myself, was Universal City and Carl Laemmle's 
office. Mr. Laemmle was in a very perturbed frame 
of mind, walking anxiouslv about the room and try- 
ing to open a window here and there. As a matter 
of fact, they were all wide open. 

"Don't you think it's awfully hot in here?" he 
said to me. 

"Why. Mr. Laemmle, I thought that was the way 
California was supposed to be," I replied, uncom- 

"Not at all, not at all. This is very unusual." 

The next day the papers said "rain." When I 
reached the studio there was an expectant air which 
presaged an unusual arrival. I soon discovered that 

fliey were out in the streets of the City and standing 
in the doorways looking for this rain. That was 
the unusual part of the proceeding to me, although 
to them the rain was the unusual thing. Then it 
came in bucketsfull and drove them all in-doors. That 
also was very unusual. 

On Saturday I played golf in a combination Santa 
Anna and sand storm induced by the rough which 
surrounds the Rancho Golf Course rising up in its 
might and hurling itself across the fairways and 
greens. I asked my host if this was an unusual thing, 
and he assured me that it ne\"er happened before: 
that it was entirely unusual. 

Another thing that strikes one whether he is in 
the moving picture business or only a movie ticket 
purchaser, is the familiar look which so many men 
and women on the streets, in automobiles and 
theatres, in restaurants and public gatlierings, pres- 
ent. In a walk of some four blocks on Hollywood 
Boulevard I bowed to half a dozen men who returned 
mv salutation with the blankest of looks. I thought 
I knew them all, but I soon discovered that I only 
knew them as they appear on the screen. I resolved 
not to be fooled so easily any more, and walked right 
straight by John Adolphi, whom I have known ever 
since he directed for Universal in Coytesville thirteen 
or fourteen years ago. Then the tables were turned 
on me. 

So much for California and Hollywood. 

I went, however, to see Filmland and of all the 
things in unusual California, the films and its people 
are by far the most interesting. Back east films are 
so much celluloid — some good and some bad; in Cali- 
fornia films are personalities. To see the pictures 
actually in the making is an experience ever to be 
remembered. I am not going to tell you how they 
do it, because T am frank to admit it is a great mys- 
tery to me. 

National Board of Review Magazine 

Out of a welter oi enthusiastically expressed but 
hopelessly divergent opinion, theory, doubt, general 
policy, indomitable determination, artistic apprecia- 
tion and downright good luck, moving pictures evolve 
which, to the uninitiated, are every bit as magical as 
the Aurora Borealis. Naturally, they start in the 
Scenario Department, ami a conference of scenario 
chiefs, chiefesses, general managers and production 
chiefs is an experience to stagger a normal brain. 

Curtis Benton, for instance, will take you in a 
corner and enthusiastically explain his system where- 
by he can evolve a perfect photoplay, in fact one 
which he can prove by geometrical design is going to 
be foreordained success, arvd no fooling! He has a 
place in his design for every element which has ever 
been tried and proven successful for introduction 
into this perfect picture. On the other hand, Edward 
Montagne, the scenario head of L'niversal City, in- 
sists on more personal visual demonstration. When 
the proposer of a story submits it in conference to 
him, he has the proposer tell just what actor or actress 
he sees in every single role. In that way all of the 
members of the conference visualize much more 
clearly the role through its human prototype. Once 
the thread of the story is divulged by the proponent, 
the general manager asks for objections, and no 
feast of vultures ever provoked any more clamorous 
or thorough-going destruction than a typical Holly- 
wood story conference. 

ONCE "the shouting and the tumult dies" the 
matter is left in charge of one member of the 
story conference who reconciles the original story 
with the objections, "The captains and the kings de- 
part," and, wonderful to relate, a logical, workable 
and usually excellent scenario results! 

The personality of the director then becomes the 
dominating one, and it is through him that the 
neophyte obtains his most engrossing vision ot pic- 
ture making. I watched Edward Sloman liirecting 
.Ilias I he Deacon for three days. The scenes I 
saw were all on a gigantic stage arranged to repre- 
sent the interior of a prize fight auditorium. A 
thousand extras crowded the benches and responded 
to the action in the ring as Sloman adjured them, 
while Ralph Graves and Tom Kennedy battled furi- 
ously, with frequent applications of scarlet make-up 
about the nose and face and oily preparations on the 
body, into one of the most exciting ring battles that 
I have ever seen in all my lite. It went the entire 
ten rounds and Sloman shot it from every possible 

The tenth round was fought at just about noon of 
the second day, and after the termination Sloman had 
a scene of the crowd milling out of the auditorium. 
This shot was taken from the inside, but as luck would 

have it, the sandwich tent was only a hundred feet 
away and Sloman had no intention of terminating his 
shooting until one o'clock. It took him a half hour 
to get tliose extras away from the honey and back 
to the bee hive. After the third day of this furious 
prize fight, Sloman announced: — "Well, boys, this is 
the last scene. Make It snappy. I've got to get away 
to see the fights at the Hollywood Bowl." 

Can you imagine a director surfeited with three 
days of prize fighting, who wanted a holiday at Film- 
land's own exhibition of Pistiana ! I went to that, 
too, and sat with Scott Darling in the second row, 
right behind May McAvoy and her mother, Mr. and 
Mrs. Reeves Eason, and right in front of Lon 
Chaney, and I saw more actors, actresses, directors, 
supervisors, than I did on any single lot or even at 
the magnificent opening of "What Price Glory" at 
the gorgeous Carthay Circle. The seat holders at 
the Hollywooii Bowl for Thursday nights are a roster 
of Filmland. 

THEN I watched Paul Leni excitedly for four or 
five days. Every morning the executives also 
watched Leni's daily "rushes" with bated breath. 
Leni promises to be the most interesting and effective 
director ever imported into this country. In "The Cat 
and the Canary," which is his first American work, he 
is telling the entire story in a way never before at- 
tempted. The mysterious effects of the story are be- 
ing carried out by means of long, exaggerated shad- 
ows which the actors cast on the walls, floor and ceil- 
ing. In order to preserve the facial delineations, 
however, he has dug a well in the center of all his 
sets for flood lighting of the faces, the shadows 
from these lights of course are never projected on 
the screen. As a matter of fact, it would be a tre- 
mendous pity to lose the benefit of a cast which is in 
all probability the best that Universal has ever as- 
sembled for any feature picture. It includes Laura 
La Plante, Creighton Hale, Forrest Stanley, Tully 
Marshall, Gertrude Astor, Flora Finch. Arthur Ed- 
mund Carewe, Martha Mattox and Lucien Little- 

I saw many other pictures in the making and inany 
other directors, eacii working in his own individual 
way. It was with regret I missed seeing Harry Pol- 
lard in the high tide of his accomplishment in Uncle 
lOin's Cahin. He and the entire company were at 
Natchez, Mississippi, but I did see the preparation 
which was being made for his return. He thought 
he would be able to film all of the sequences of the 
St. Claire house called for in the script in Mississippi. 
Finding none to his liking he wired to Universal City 
to have such a set ready for him when he returned. 

Carl Laemmle's organization has always been 
noted for its remarkable set building ability and in 

January, Nineteen Twenty-seven 


less time than it takes to builil a liiiiiy;alo\v in 1 lolly- 
wooti, a remarkable Louisianan mansion had arisen 
on Universal City back lot. The front yard cleverly 
overlooked the Lakeside Golf Course, which is about 
the only long stretch of cultivated grass land any- 
where around Lankershim, so that long shots are per-, 
fectly possible from the balconies of the building. 
The grass on the Universal back ranch was another 
thing. How do you think they got that? Not by 
importing sod or by any of the usual methods, but 

they IkuI wonticrlui grass growing in the little plots, 
and it was growing tluis only a week after its plant- 
ing. This intensi\e cultivation of grass was an in- 
\-ention of Arthur Shadur and the Electrical Depart- 
ment. 1 hey naturally chose a fast growing variety 
but its progress was stimulated by sun rcHectors in 
the day time antl by huge arc lights at night until the 
St. Claire week-old grass looked as though it had 
been growing there for centuries. Truly, the movies 
are mar\clous! 

Going Long on "Shorts" 

National Laugh Month Committee 

THE complexity of modern life does not encour- 
age laughter. 
The sophistication that comes with living 
at the dizzy pace which is almost universal, the stern 
exactions of highly competitive business conditions, 
do not encourage it. Yet there is nothing more nec- 
essary to sanity, to a wholesome outlook, than 

Grown-ups more and more seem to leave laughter 
to the young. Yet laughter is one of the best ways 
by which we may keep young in spirit if not in years. 

Anything that directs attention to the necessity of 
Liughter as an aid to happiness and the least expen- 
sive and best preserver of health, is a good thing. 
"Laugh Month" does just that. It invites no one to 
buy. It is unselfish. It is a summons to greater hap- 
piness. A suggestion to lessen the tension, to relax 
the nerves. 

January was a happy choice for "Laugh Month." 
Life, at least in northern climes, is then at about Its 
lowest ebb. The holidays are past. There is a reac- 
tion, a let down, that applies not only to humanity 
but to business. Furthermore, in most families, the 
bills to be paid in January are the heaviest of the 
year. It takes a lot of optimism to get a laugh out 
of that. 

Laugh Month originated with the Short Features 
Advertising Association, Inc., an organization of ad- 
vertising, exploitation and publicity men connected 
with the various distributing companies interested in 
short subjects. The reason for its adoption was to 
signalize the importance of the short subject to an 
exhibitor's program by demonstrating to him that it 
pays him to advertise it. Obviously to tie up to 
Laugh Month a theatre must emphasize its comedy 
entertainment. The first Laugh Month campaign 
was put on for January, 1926. The Short Features 
Advertising Association very wisely did not limit 
Laugh Month to motion pictures. Newspapers, 

magazines, book publishers, vaudeville and legitimate 
theatres were invited to adopt Laugh Month for 
their own benefit and many of them did so. The 
thought is that laughter is a panacea for many human 
ills, and is equally good whether roused by a news- 
paper cartoon or article, a story, a book, a stage play, 
a vaudeville act or a motion picture. 

Laugh Month in 1926 was observed by governor's 
proclamation in Texas, and by the proclamations of 
a number of city mayors all over the country. The 
idea was received with real interest, and the first 
Laugh Month became a success. It is hoped that the 
observance of it this year will considerably exceed 
that of last. 

In the meantime every comedy distributor has 
taken special pains to see that the best comedies pos- 
sible have been picked for release in January. All 
that motion picture theatres have been asked to do is 
to book short subjects for January and give them a 
fair share of their advertising. 

Now all that remains to do is for theatre patrons 
to express to the exhibitors their interest and ap- 
proval. The feature pictures have been getting the 
lion's share of attention from discriminating theatre- 
goers, who watch for the best pictures and patronize 
them and report to their exhibitors when they are 
pleased or displeased, giving him aid and suggestions 
regarding the picture they wish to see. Why not give 
some of this attention to the short subject? There 
is such a really great variety of comedy production, 
cartoons, slapstick, burlesque, western, enough from 
which to make choice. 

There is also a wealth of other short subject ma- 
terial, pictured songs, scenics, sports reels and such, 
which add greatly to the entertainment value of the 
well-rounded motion picture program. Let all theatre 
patrons in January, which is Laugh Month, familiar- 
ize themselves with the good short subjects and then 
with the cooperation of their exhibitor they will be 
assured of good laughs all the year around. 

National Board of Rcriew Magazine 

Exceptional Photoplays 

Louise Hackney 
Uarbiet Menken 
Edward A. Moree 
Frances T. Patterson 

{. K. Paulding 
Vai-ter \V. Pettit 
M. R. Werner 

A department devoted to ait impartial critique of the best in current photoplay 
production. Each picture before beimj lislfd, is thoroughly discussed by a volunteer 
committee composed of trained critics of literature, the siaye and the screen, who 
are the sponsors of this department. The printed reviezvs represent the combined 
expression of this committee's opinions. The reviews aim to convey an accurate 
idea of the films treated, menlioniiu) both their crcellcncies and defects, in order to 
assist the spectator to view the productions with increased interest, appreciation and 
discrimination. The reviews further try to bring to the attention of tite reader of 
special tastes or interests, or of severely limited time for recreation, those photo- 
plays which riniuinely contribnte to the art of the screen. 





Alfred B. Kuttner 

Old Ironsides 

Directed by James Cnize 

Photographed hy llfred Gilks 

The Cast 

The Boy Charles Farrell 

The Girl Esther Ralston 

The Bos'n Wallace Beery 

The Gunner George Bancroft 

Commodore Preble Charles Hill Mailes 

Stephen Decatur Johnny Walker 

Richard Somers Eddie Fethtrstnn 

The Cook George Godrey 

THE sailing ship has long held a fascination 
for many people. Witness the almost end- 
less list of books about ships and the men that 
sailed in them. Each year they are added to. And 
what helped so largely to make Conrad and Mase- 
field popular among the finer modern writers but 
their treatment of material gathered from the sea, 
and what but an interest in the deep and its mystery 
served to raise "Moby Dick" upon a belated wave of 
appreciation long after Melville was dead and almost 
forgotten ? 

With all this in mind, it seems stupid of the mo- 
tion picture producers, in a country so rich with sea 
tradition (tradition only, alas!), and the memory of 
sea mastery and great adventure in ships, not hith- 
erto to have attempted some adequate portrayal on 
the screen in the direction of that past, something 
that would call masts and spars and ropes by their 
right and salty names, that would show love for and 
discernment of ships, and that, above all, would take 
a ship as a personality, as anyone who has sailed a 
stick in a creek knows she is, and project her cine- 
graphically into the consciousness of a broad land 
that once rose by sea fame to a supreme place in the 
world's commerce and, in a naval sense, to a foremost 
place in the world's eyes. Among the fifteen or twenty 
million who now daily rest on the plush seats of our 
country's motion picture theatres there must be many 
whose ancestors trod salt-stained decks on the deep 
sea and sucked in, instead of pollyanna, wind and 

foam and adventure of a stirring reality. Whether 
there are enough of these folks to provide an over- 
flowing box-office for Old Ironsides remains, of 
course, to be seen, but we have much thanks to re- 
turn to Messrs. Stallings, Cruze, Zukor and Lasky 
for giving us the ships of the film Old Ironsides and 
for giving them in correct nautical detail, with a fine 
feeling for their personalities, in a medium so sin- 
gularly equipped as the motion picture is to render 
them with vividness, as they were and as they must 
have appeared. This is the first time it has been 
carefully done in an American film. 

Besides the ships of Old Ironsides — such as the 
stately frigates "Constitution" and "Philadelphia," 
and the lovely little naval brigs "Nautilus" and 
"Argus," and the merchant barque "Esther" — those 
of any other motion picture are feeble, inaccurate 
shadows, landlubbers' conceptions, toy boats in a bath- 
tub, rocked by manufactured waves, or poor decrepit 
hulls, rigged up by Holywood carpenters and sailing 
gingerly around in California harbors. Do-u.n to the 
Sea in Ships might have given us the true ways of a 
vessel; the producers had a fine whaler to photo- 
graph, but nobody to love her. 

Also the sea beneath and around the ship has 
never been shot with a motion picture camera for 
the purposes of a dramatic picture in a way to equal 
the cinematics of Old Ironsides; nor has the motion 
of the hull under sail — the ship in her living power 
and action, cutting her way through the waters — 
been at any previous time put upon the screen in a 
comparable way. Through special camera device, 
it would appear, the horizon stands steady, while 
the ship rises and plunges and the wave from her 
cutwater rolls out to leeward from her side, or the 
horizon itself, seen through an interstice of the sails, 
soars and falls away, giving us in both instances the 
almost perfect sensation of one who actually stands 
upon a heaving deck. 

Again, photographically, sails, spars and rigging 
have been used as interesting patterns, and the fascin- 
ation of this nautical paraphernalia is made evident, 
we should think, to the most landlubberish eye, so 

January, T^iiieleen Tnenty-seven 


Natioii/il li'tiinl rjj Refiew Magazine 

that the old professional deep sea sailorman's de- 
light in these mysteries is pictorially explained. Wiiat 
a place for the camera to shoot from are the differ- 
ent parts of hull and rigging of a lull-rigged siiip! 
This will be one of the American pictures to interest 
the Germans. It seems as if Mr. Cruze. after 
honorable service in the California studios and open 
spaces, albeit with a perfectly safe footing under 
him, being the first director to find his feet plantcti 
on the deck-planks of a vessel as intricately mag- 
nificent as this full-sized replica of "Constitution", 
had been inspired, after he had found his sea 
legs, with camera possibilities far beyond those held 
out by prairie wagon 
trains, and, suddenly 
becoming a sailor, had 
taken added stature as 
a camera artist. But, 
then, no director before 
him lias been given such 
stunning scenic material 
on which to train his 
eye. Something had to 
come of it. In looking 
at the scenes of the 
ships, we are prone to 
forget Mr. Cruze and 
take our hats off to the 
men who built the ves- 
sels — mere properties 
for a motion picture, it 
is true, but heroic prop- 
erties and beautiful and 
dramatic things in 

Director Cruze's big 
test as an admiral comes 
when "Constitution" 
and her consorts sail 
into Tripoli harbor to 
avenge the loss of 
"Philadelphia," c a p- 
tured by the Moors 
and retaken and burnetl 
by Decatur. In her 

victorious engagement with the Tripolitan frigate 
sent out to meet her, he handles his ships and cam- 
era in a seamanlike manner, and for many moments 
together we forget that it is a movie, simply because 
the movie stuff is shut under hatches. The shots of 
"Constitution's" top-hanger coming down under the 
fire of the forts, of "Old Ironsides," her royal and 
top-masts hanging, enveloped in smoke through which 
jet out the flashes from her gunports (antl it doesn't 
appear to be mere fireworks' powder either), of 
her decks in action with the long line of heavy 
broadside ordinance being worked, of the boarding 
actions, of her slowly crumbling Tripolitan adver- 

sary drifting away and burning — particularly a 
great shot of her spars and sails coming down on 
her deck and her crew struggling out from beneath 
the smothering fall of heavy canvas and gear — are 
all very fine, being full of the sense of reality. Here 
again is the best the screen has given us of an old- 
fashioned naval engagement. 

Historically, Old Ironsides is important because 
it succinctly tells the story of Young America sail- 
ing boldly into the eyes of the older nations and 
challenging their admiration with a swiftly success- 
ful naval adventure. It convinces us that it was a 
gallant entrance upon the Old World scene, an en- 
trance made with a 
beautiful ship and a 
magnificent and well- 
disciplined crew, and 
with leaders w hose 
courage, dash, and abil- 
ity have rightfully given 
them immortal places 
in American naval his- 
tory. With those in Old 
Ironsides' audience who 
know and love ships it 
is perhaps a cause for 
regret that Director 
Cruze and Scenarioist 
Stallings did not go the 
whole way with the 
fleet that was given 
them — with the com- 
plete majestic, dramatic 
work-ship furnished by 
the replica of "Consti- 
tution" in particular — 
and intensify the per- 
sonification of its ves- 
sels, giving the produc- 
tion a single absorption 
and a sustained visual 
rendering of the mean- 
ing, life, anatomy and 
working of a ship. Cine- 
graphically such a film 
might have been amazing. 

For those of its audience, however — perhaps the 
great majority — who have no such interest in a ship 
as such, there are ingredients in the film as it stands 
which, while not adding to it as a work of art, cannot 
fail to appeal; nor are these ingredients lacking in 
good acting of a considerable strength and vitality, 
notably on the part of those who play The Bos'n, 
I he Ciunner, anil crusty old Commodore Preble. 

{From au original screen story by Laurence Stall- 
ings. Jdapled by Harry Carr and ff^alter Woods. 
Produced and distributed by Paramount.) 

Jiiniinry, Nineteen Ttienty-seven 

The Way to Strength and 

Tins finely pliotof^niphed, often suriiptiious pic- 
ture is unother us yet unrelcascil tilm wliich the 
Exceptional Photoplay Committee has h;ul the 
privilege of seeing through the courtesy of the .Amer- 
ican representatives ot the UFA Company. This un- 
usual picture is the product of the UFA educational 
department. It is an ambitious atteni[)t to give a pic- 
torial review of physi- 
cal culture in past ami 
modern times, including 
sports and the dance. It 
achieves a remarkable 
presentation of all 
those activities of civi- 
lized man vvhicii aim 
to perfect the strength, 
health and grace of the 
iiuman boily. 

As such the picture 
has rather unique his- 
torical, educational, and 
propaganda values. We 
see the ideal of physi- 
cal perfection held by the Greeks as expressed in their 
art and fostered by their extensive devotion to gym- 
nastics and games, in contrast to the almost com- 
plete neglect of physical training which was cur- 
rent, especially in Europe, until the recent ath- 
letic revival which Is now practically world-wide. 
A typical Greek "Gymnasion" has been reconstructed 
showing the Greek youth at play or engaged in vari- 
ous contests. When we come to the Roman period 
we see a Roman private bath faithfully restored ac- 
cording to the best obtainable historical and anti- 
quarian sources. 

There follows an all embracing review of modern 
athletic contests in which champions from various 
countries participate Including our own Helen Wills, 
Tilden, Paddock, 
Murchison and others. 
Quite properly a large 
section of the film is 
also devoted to correc- 
tive exercises for the 
liebilitated and for 
those whom our present 
machine age tends to 
confine to monotonous 
forms of toil. The 
hygienic and eugenic as- 
pects of physical fitness 
are well brought out 

1 lie picture ends logically with a long exposition 
ol the dance as the aesthetic fusion and final expres- 
sion of the triple goal of strength, health and 
grace. Here again many of the leading world ex- 
ponents of this art have been called in to participate 
ii! a memorable array. 

Minor chapters, so to speak, of this somewhat 
encyclopaedic treatment of physical culture are ile- 
voted to corrective exercises of badly developeil or 
crippled individuals, to the cult of sunhaths with a 
more and more railical exposure of the entire hoily 
to sun and air, anil to various forms of training and 


.\ picture of this sort, 
while It must be classi- 
fied as instructive or 
educational rather than 
entertaining, has a fas- 
cination which springs 
from the general hu- 
man trait of curiosity 
that underlies every 
interest in pictorial 
presentation. As such 
it merits feature treat- 
ment, which the enter- 
prising exhibitor ought 
to be quick to see. One 
hates to preach taking the screen seriously since our 
first instinct is to turn to it for entertainment and 
pleasant relaxation. And yet the screen is day by 
day commanding a wider and wider interest which 
is already far beyond anything that the first makers 
ot thrillers ever dreamed of. It requires no par- 
ticularly keen vision to see that it may soon embrace 
every community interest, such as this, which can be 
pictorially presented. 

The special uses of Tlw Way to Slrenylh and 
Beauty in schools and colleges, in summer camps and 
Scout gatherings, are almost too obvious to mention. 
The person, young or old, who refrains from resum- 
ing his setting up exercises after seeing this picture, 
must he staid indeed. 

{Written by Dr. 
Nicholas Kaufmann, 
Directed by Willielm 
Prager. Photfujraphed 
by Frederick Wcin- 
inann, Eityen Hirsch 
and Friedr. Paiilmann. 
Produced by U. F. .7. 
Educational Dept. Dis- 
tributed bx U. F. A. 


National Board of Review Magazine 

A Grtrk Gymnasion — "The II' ay to Strength and Beauty" 

The Forty Best Pictures of 1926 

HERE is our take-it-or-leave-it list of the forty 
best motion pictures of the year running from 
December 1st, 1925, to December 1st, 1926. 
Most of the pictures are cited for all around excel- 
lence but some only for particular merit in acting, 
plot, setting or in their educational and instructive 
features. It should be borne in mind that these selec- 
tions, being based upon the findings of the review 
members of the National Board of Review, represent 
a group opinion rather tlian the judgment of an indi- 
vidual critic. Many individuals are likely to disagree 
with some of the choices, but, after all, don't we often 
go to see a picture just to see whether tiie other fel- 
low was wrong? We expect to be both praised and 
scolded for our list and we should be glad to hear 
from any reader as to any notable omission. And 
then again, our list may remind you of something 
good tliat you have missed. 

Alaskan Adventures — Pathe. 
The Amateur Gentleman — First National. 
Beau Geste — Famous Players-Laslcy. 
Ben II ur — Mctro-Cioldwyn-Mayer. / 
'/■/;(■ Blaek Pirate — United Artists. — "" 
The Blackbird — Mctro-Goldwyn-Mayer. 
Diplomacy — Famous Playcrs-Lasky. 

Don Juan — Warner. 

Everybody's Acting — Famous Players-Laslcy. 

The Exquisite Sinner — Metro-Goldwyn-Mayer. 

Faust — Metro-Goldwyn-Mayer. 

For Heaven's Sake — Famous Players-Lasky. 

Gigolo — Producers' Distributing. — 

God Gave Me Tiventy Cents — Famous Players-Lasky. 

The Gorilla Hunt—F. B. O. 

The Greater Glory — First National. 

Hotel Imperial — Famous Players-Lasky. — 

La Boheme — Metro-Goldwyn-Mayer. 

Mare Nostrum — Metro-Goldwyn-Mayer. — 

The Marriage Clause — Universal. — 

Michael Strogoff — Universal. 

Nell Gu'yn — Famous Players-Lasky. ■*" 

Oh! II' hat a Nurse — Warner. 

Pot em kin — Amkino. 

The Quarterback — Famous Players-Lasky. ~ ' 

The Return of Peter Grimm — Fox. 

The Scarlet Letter — Mctro-Goldwyn-Mayer. 

The Sea Beast — Warner. 

Secrets of the Soul — Ufa. 

The Shoiv-Off — Famous Players-Lasky. ■ 

Siberia — Fox. 

Silence — Producers' Distributing. 

Sorrows of Satan — Famous Players-Lasky. — 

So's Your Old Man — Famous Players-Lasky. 

The Strong Man — First National. ' — 

The Temptress — Mctro-Goldwyn-Mayer. 

Variety — Famous Playcrs-Lasky. — 

The li'altz Dream — Mctro-Goldwyn-Mayer. 

What Price Glory — Fox. 

The IVinning of Barbara H'orlh — United Artists. 

January, Nineteen Twenly-seven 


Critical Notes 

ERICH I'()MM1:R, the Nvell known German 
producer now in tliis country, recently de- 
livered himself of a warning about the use of 
camera angles and other technical innovations of pic- 
ture making which our directors may well take to 
heart : 

"People come to the theatre to see a story re- 
vealed entertainingly. They do not come to see a 
batch of director's tricks . . . Seek the new way 
to tell the story, of course, but be sure that the 
method is simple and convincing. The millions who 
pay their money to he entertained must not be forced 
f.) sit as spectators in a museum of freakisii camera 

riiis is sound advice. The method of picture mak- 
ing cannot be changed over night by trying to lend a 
false vitality to an otherwise banal story through the 
casual injection of a few novel camera angles. One 
can imagine the unsophisticated producer telling his 
director to put some of that new art stuff that he 
has lieard tell about into liis next picture. What he 
probably ought to tell him would be to scrap the 
whole idea of the picture and start afresh. Noth- 
ing less than an entire change of style in picture mak- 
ing will do if another I'ariety or Polemkin is the 
goal. A lazy, purely illustrative, uncinematic scenario 
calls for an equally lazy, unimaginative photography. 
In Rardelys the Magnificent a man falling out of a 
window was suddenly photographed at a camera 
angle which actually made you feel him drop. It 
was an excellent shot but it effectively showed up the 
slipshod romantic procedure employed in making the 
rest of the Him. The weakness of The Sorrows of 
Siitan was similarly revealed by Griffith's flashes of 
camera virtuosity. A pollyanna picture calls for a 
pollyanna cameraman. Otherwise you simply de- 
stroy pollyanna and all that goes with her. This is 
merely a matter of consistency of style, a question 
which rarely receives adequate consiileration in most 
picture criticism. And it follows as a yes-man fol- 
lows his director, that hati pictures sliould be con- 
sistently bad. Then they would at least be honest. 
A little art is a dangerous thing. 

ANOTHER case of mixed method making a pic- 
ture fall below its own artistic stanilard is 
frequently encountered in the so-called high 
comedies. The tiling that is fatal tiiere is the sudden 
descent to slapstick. Tiie methods of achieving slap- 
stick laughter and the laughter that rises out of a 
legitimate comedy situation are miles apart. In slap- 
stick everytiiing is granted; every physical and psy- 
chological probability is ruthlessly sacrificed. Slap- 
stick pie has never yet put out a comedian's eye. In 

comedy laughter must arise from character and not 
from caricature, from a human situation and not a 
mechanical or too cruel a burlesque of one. In a 
recent slapstick the comedian said to a drowning 
woman : "Say, you've sunk three times already, don't 
you know the rules?" In a legitimate comedy tliis 
title would have missed fire because we would not 
iiave been able to laugh at a woman who appeared 
to be actually drowning. In IThtit Price Glory the 
Jewish doughboy, tunny enough in all conscience as 
a recognizable Jewisii type, suddenly blew his nose 
and apparently forced two jets of dust out of iiis 
already too forward ears. This act reduced him to 
a mechanical dummy. He had been quite funny 
cnougii up to then, just as a human being. Let tliese 
two examples suffice to show that a director who 
masks tiie bankruptcy of his comic inspiration by in- 
\()king the mannerless Muse has failed to read 
George Meredith's Kssay on Comedv. So has his 
Old Man. 

A RECENT news item from Wyoming says 
that the cattle industry is suffering severely 
from rustlers and that there are only two 
deputies to look after them, one of whom is pretty 
busy hunting down stills. There you are! Who said 
that pictures do not incite to crime? And this had 
to happen just when we had become convinced that 
cattle rustling was an exclusive movie industry. The 
chances are that these rustlers got their experience 
while working in pictures. [>ooking at Westerns 
tlay after day, it didn't seem possible to us that there 
could be that many rustlers or that many cattle to 
rustle. But with this evidence before us we put the 
question : Do pictures lead to crime or do crimes 
had to pictures? 

WITHIN twenty-five years there will be no 
"American," "English" or "German" mo- 
tion pictures, but a completely "Interna- 
tional Cinema" is the interesting statement of 
Rudolph Schildkraut, eminent Hungarian stage star, 
who has made over twenty films in (jermany and 
Vienna in addition to those he is now making in 
America. "There is a great deal of unnecessary 
worry over whether pictures are getting 'too Ameri- 
can' or 'too German' or 'too anything' " states Mr. 
Schildkraut. "This art can never be national. It 
will reach and is reaching its destiny along lines of 
international interchange. And this must be so, be- 
cause motion pictures reflect human emotions — ami 
humanity is the same, regardless of language or geo- 
graphical boundaries." 

Such liberalism is refreshing! A. B. K. 


National Board of Review Magazine 

Selected Pictures Guide 

Rev-lciv Committee 

Consists of approxi- 
mately 2o0 trained 
members rcprcscnta- 
tivr of widely varied 
interests who volun- 
teer their services for 
the review of pictures. 

A departmciil dcz'olei! to the best popular entertainment and procjram films. Departuient Staff 
Each picture is rei'icuvd by a couimittee composed of members from the Re^ietv alfked B Kuttnek 
Committee personnel. Their choice of the pictures listed is based upon principles 
of selection developed through lout/ study of what constitutes a good picture from 
the standpoint of enierlainnwnt iralue. The findings form a composite opinion of 
each committee's vieti's and upon this opinion arc based the short revica's and audi- 
ence recommendations of the pictures appearing in this department. These rcfiezvs 
seek to bring to the reader an ujibiased judgment of the pictures most worthy of 
popular theatre patronage and most helpful in 'urogram building for special showings 
of selected entertainment films. 


Frances C. Uakreit 



Key to Audience Suitability 

General audience (composed principal- 
ly of adults). Pictures primarily inter- 
esting to adults — but pictures not ordinar- 
ily recommended for boys and girls may 
be included in the list if the presentation 
is not objectionable for them. 

Family audience including young peo- 
ple. Pictures acceptable to adults and 
also intercstini; to and wholesome for boys 
and girls of High School age. 

Family audience including children. 
Pictures acceptable to adults and also in- 
teresting to and wholesome for boys and 
girls of grammar school age. 

Mature audience. Pictures recom- 
mended for the consideration and enjoy- 
ment of adults. 

Note: — Programs for Junior Matinees 
should be selected from pictures in the 
family audience classification. 

* — Pictures especially interesting or well 
done but not necessarily "exceptional." 

The Canadian 

Directed by William Beaudine 

Featuring Thomas Meighan 

/'lay "The Land of Promise" by II . 

Somerset Maugham 
A DRA.MA of the Canadian wheat 
^*- country. A proud and sensitive 
English girl, left destitute, comes to live 
with her brother in Canada. Never hav- 
ing worked she finds life on her brother's 
place both irksome and degrading to her 
finer sensibilities. In order to escape from 
her brother's wife and the farm hands, she 
offers to go as wife, in name only, with one 
of the farm hands w^ho is a homesteader 
and has a cabin not far away. There 
they live almost as utter strangers for a 
year, but during the long winter months, 
they have ceased to hate each other, and 
when the summer comes and her husband 
decides to send her back to England, she 
realizes she cares for him. 
For the general audience. 

(Paramount — 8 reels) 

Down the Stretch 

Directed by King Baggot 

,. [Marion Nixon 

I'eatunng < d , , ^ 

* I Robert Agneiu 

Story "Money Rider" by Gerald Beaumont 

in Red Book Magazine 
A ROMANCE of the race track. A 
■'»■ jockey overtrained by a harsh train- 
er, in order to keep his weight down, near- 

ly starves. An owner of a rival stable tries 
to bribe the boy with twice as much money 
as he will make for winning the race and 
a large chicken dinner is also brought in 
to tempt him. The boy refuses both to 
break his fast and to accept the bribe. 
Later he is rewarded by winning the race, 
capturing the heart of the girl he loves. 
At the same time the owner of the stable, 
disgusted with the present trainer, takes 
his job away from him and gives it to the 

For the family audience including young 

(Universal — 7 reels) 

The Fire Brigade 

Directed by IVilliam Nigh 

,, \ Charles Ray 

!• eaturing , ,, ,f j 

" lAlay iMcAvoy 

Original screen story by Kate Corbaley 

(~^\W¥, the fireman his due for he gives 
^-J his life and his constant vigilance for 
your sake, is the theme of this picture. 
The life of a fireman, his perils and his 
problems are interestingly portrayed and 
the danger from fire-traps built by dis- 
honest contractors is vividly illustrated 
when a jerry built orphan asylum collapses 
in flames. The fire chief has been fight- 
ing the political interests which shield the 
contractor and is about to be ousted. A 
young "rookie" fireman wins his spurs by 
his bravery in this fire and exposes the 
contractor thus saving his chief and at the 
same time winning the hand of the con- 
tractor's daughter who repudiates her 
father's crooked ways. The story is full of 
thrills and the propaganda against fire 
perils ought to serve a good purpose. 

For the family audience including chil- 

(Metro-Goldwyn — 10 reels) 

The Flesh and the Devil 

Directed by Clarence Brown 

\John Gilbert 

/■'eaturing -j Greta Garbo 

1 Lars Hanson 

Novel "The Undying Past" hy Hermann 


I ' HE strength of a life-long friendship 

'■ between two friends is sorely tested 

when a weak but beautiful woman comes 

between them. One of the friends having 

killed the woman's husband in a duel is 

forced to exile himself from the country 

for a period of years. On his return he 
finds the woman married to his friend but 
also finds her willing to be friendly with 
him again. Another deadly duel is immi- 
nent but fortunately the lady who has 
caused all the trouble falls through the ice 
and is drowned. The obviously melodra- 
matic quality of the story is concealed by 
skillful acting and the excellent atmos- 
phere of the settings, providing a sophisti- 
cated evening's entertainment. 
For the mature audience. 

(Metro-Goldwyn — 9 reels) 


Directed by G rover Jones 

P^^^ ^-^ \lVallace MacDonald 

\Stuart Holmes 

Original screen story by Suzanna Avery 

A FAMILY of parasites, keeping up 
■'*• appearances, taking pride in their fam- 
ily name but not in doing any work, have 
just received glad tidings. A rich old uncle 
has died and they are the heirs. But there 
is a catch in the will. The lawyer ex- 
plains that the money is to go to the one 
who can show a record of honest productive 
toil. Most of this precious lot have never 
done anything in their lives so they quickly 
fall to inventing rather fancy professions. 
One pretends to be a yacht designer, one 
a wholesale baker, one a contractor, the 
last a balloonist. But the lawyer insists 
upon being shown. Their pretentions col- 
lapse as their fake activities are exposed 
by various comic mishaps. The youngest 
member is only a twenty dollars a week 
reporter but he is on the job and does not 
lie about his humble earnings. He is the 
one for whom the uncle, still very much 
alive as a matter of fact, has been look- 
ing. He gets the money. 

For the family audience including young 

(Pathe — 5 reels) 

Held by the Law 

Directed by Edward Laemmle 

r, ^ \Johnn\ l/'alter 

^'-'"''''"9 \Marguerita de la Motte 

Story "Still Within the /^aw" 'in Mystery 
.Maaazine hy Bayard Veiller. 
I ' WO wealthy men are made happy by 
*■ the engagement of their son and 
daughter. During a party given to an- 
nounce the engagement, the boy's father 
is murdered, and the girl's father is ac- 
cused of the crime and later sentenced to 

January, Nineteen Tuenty-seven 


the chair. Unablt- to kci'p away from the 
scene of his crime, the real murderer re- 
turns to the house and is caujjht. The 
t;irl and her father are united and the 
lovers find happiness again. 
For the general audience. 

(Universal — 7 reels) 


Directed by Clarence Badger 

Featuring Clara Bow 

Original screen story by Elinor Glyn 

\'\/' HAT is "IT"? Something a person 
» » has which appcaU to the opposite sex. 
A shop girl working in a large department 
store seems to possess this mysterious "it". 
and vamps the young and attractive owner 
of the store. 'I'hey have many good times 

One day the heroine returns home to 
find that the settlement workers have come 
to take away the bahy from her friend 
with whom she is living and who is sick 
and without a joh. Taking the baby from 
the weeping mother the heroine angrily 
informs the uplifters that she is the mother 
of the baby and quite able to take care 
of it, being healthy and having a position 
at the store. The story is written up for 
the dailies and the store owner reads and 
believes. Later he discovers his mistake 
and takes the first opportunity to make 
amends. The acting and story are both 
excellent and the captions clever. 

For the general audience. 

(Paramount — -7 reels.) 

The Lady in Ermine 

Directed by James Flood 

Featuring Corinne Griffith 

Play by Rudolph Schnazer and Ernest 
A ROMANTIC tale of olden days dur- 
■'»■ ing an invasion. The owner of a 
castle, who had been married on the eve 
of his departure for war. learning that his 
castle is in possession of the enemy, returns 
home to protect his beautiful young bride 
and is arrested as a spy. On the stairway 
of the castle hangs a portrait of the bride's 
great grandmother and the story of her 
having been forced to come to a general 
clad only in an ermine wrap to save her 
husband's life, has been related to the of- 
ficer in charge who promises to free the 
bride's husband if she will come to him 
clad thus. That night, as he is waiting f-or 
the bride, he falls asleep and dreams that 
she comes to him, the dream is so realistic 
that in the morning he believes that she 
really came and so releases her husband. 
The happy couple congratulate themselves 
that the officer was such a good dreamer. 

For the mature audience. 

(First National — 7 reels) 

One Increasing Purpose 

Directed by Gerald Beaumont 

Featuring Edmund Loue 

Novel by A. S. M. Hutchinson 
C I.M P.ARIS, a younger son of a wealthy 
"^ British family comes through the War 
unscathed and wonders whether he has 
been spared by Providence for some great- 

er purpose. He finds his family and 
friends controlled by the passions of hate 
and greed as if in mockery of the great 
sacrifice of the War and decides that what 
they need is a little practical Christianity. 
After righting certain family wrongs, he 
devotes himself to preaching the Kingdom 
ot Heaven from hamlet to hamlet and thus 
fullills the greater purpose for which he 
teels his life has been spared. 

For the family audience including young 

( Fox — 8 reels) 

*The Overland Stage 

Directed hy Albert Roijell 

Featuring Ken Maynard 

Magazine story by Marion Jackson 

A SPIRITED frontier story telling of 
■'*• the earliest settlements in the Dako- 
tas. Hawk Lespard, an unscrupulous 
trader, is in league with the Indians to 
keep out the advancing whites so that he 
can go on exploiting the Indians in his 
own way. Jack Jessup, who brings the 
first stage coach line to the settlement, 
bucks his game and puts an end to the at- 
tacks on the coaches which Lespard en- 
gineers with his gang disguised as Indians. 
Lespard rouses the Indians to attack the 
settlement. A fight and siege follows and 
jack Jessup saves the situation by bring- 
ing in a load of ammunition when the sup- 
ply of cartridges runs low. The Indians 
make peace when the dying Lespard re- 
veals that he has deceived them all along. 
The picture is full of action and thrills 
with a pretty love affair running through 

For the family audience including chil- 

(First National — 7 reels) 

Featuring . 

Sensation Seekers 

Directed by Lois Weber 

SRilly Dove 
\Uuntly Gordon 
Original screen story by Ernest Pascal 
"•'TirGYPT", the wealthiest and most 

'-^ popular girl in her pleasure-loving 
and jazz-mad set, is the talk of the town. 
Shocking the townspeople and enjoying the 
free life of modern youth, she is finally 
caught in a raid at a black and tan cafe, 
and sent to jail. The young minister, of 
whose church Egypt's mother is a gener- 
ous and devout patron, goes to the jail to 
release the girl. In her flip and flapper- 
ish way "Egypt" seeks out the minister in 
a spirit of adventure, but soon realizes that 
she loves him. In the meantime the good 
churchgoers have decided to make trouble 
for their minister and to force him out of 
the church, because of his friendship with 
the "black sheep." To save him, "Egypt" 
decides to elope with a wealthy young man 
of her set. Intending to spend their 
honeymoon on his yacht they start during 
a storm and are followed by the minister 
who has come to save the girl from her- 
self and from the man she is going to 
marry. The story ends with a hint of 
the happiness in store for them. 

For the general audience. 

(Universal — 7 reels) 

The Silent Rider 

Directed by l.ynn Reynolds 

Featuring Hoot Gibson 

Novel -The Red Headed Husbamf by 

Kalherine Newlin Burt 
A WESTERN romance taken from the 
•'»■ story "The Red Headed Husband", 
which is a far better name for the picture. 
A young girl enters a ranch house dining 
room to wait on the cowboys and when 
asked by one of them what she is doing 
there, she replies that she is looking for a 
husband and a red headed husband at 
that. Heing both young and beautiful, she 
instantly inspires the cowboys to dye and 
"heiuia" their hair and even to go so far 
as to use red paint and buy red wigs. 
I'inally a red headed man comes to the 
ranch and the green eyed monster rears 
his head. It developes later that this man 
is the red headed husband she is looking 
for, as he had deserted her and kidnapped 
their child. He is killed in his attempt to 
escape with some stolen money, and the 
girl loses her red headed husband but wins 
a much "hennaed" cowboy and has her 
child restored to her. The story is inter- 
esting and has good comedy relief. 

For the family audience including young 

(Universal — 6 reels) 

Stranded in Paris 

Directed by Arthur Rosson 

Featuring Be be Daniels 

Play "Jenny's Escapades" hy Herman J. 
Mankieu'itz and John McDermott 

A FREE trip to Paris is all well and 
•'»■ good but you don't get very far in 
Paris when nothing is free there but the 
atmosphere. That was the heroine's expe- 
rience when she discovered her purse 
stolen and the young man she had met on 
the steamer had dropped out of sight. But 
you can't keep a good American girl down 
in Paris especially when she accidcntly finds 
herself turned loose with the wardrobe of 
a countess which she was to deliver for a 
dressmaking establishment where she just 
landed a stop-gap job. All goes well un- 
til the count appears and takes possession 
of the suite of the supposed countess. 
Farcial situations now follow in quick suc- 
cession when the young man of the 
steamer and the real countess also bob up. 
lor the family audience including young 

(Paramount — 7 reels) 

Summer Bachelors 

Directed hy Allen Dtvan 

Featuring . .Madge Bellamy 

Xoj'el hy H'arner Fabian 
pO.MEDV-DRAMA of a flirtatious 
^^^ girl who entertains lonely husbands 
in New York City while their wives arc 
away for the summer. This charmer and 
her girl friend find summer their busy sea- 
son in the pleasant past-time of flirting. 
The story is carried along at a light amus- 
ing pace until a real bachelor is caught. 
The acting is clever. 

For the general audience. 
(Fo.x — 6 reels) 


National Board of Revieic Magazine 

*Tell It to the Marines 

Directed by George Hill 

Featuring Lon Chaney 

Original screen story by E. Richard Sheyer 

LJIGH comedy of life u-ith the marines. 
'^ ^ "Join the marines and see the world", 
so thought young Burns, but he was un- 
aware of all that went with the sight see- 
ing. For four years. Burns was continu- 
.illy in hot water and in dutch with his 
hard boiled sergeant. A strong rivalry 
springs up between this ill assorted pair 
for the hand of a young nurse in the navy. 
At the end of the four years, the sergeant 
and the tenderfoot have become fast 
friends, and the sergeant gracefully 
watches the boy win the girl. The story 
is interesting, the comedy excellent and 
the subtitles clever. 

For the family audience including young 

( Metro-Goldwyn — 10 reels) 

The Third Degree 

Directed by Michael Curtiz 

featuring Dolores Costello 

Play by Charles Klein 

A ROMANCE of the saw-dust ring, 
•"^ in which a woman of the circus de- 
serts her husband and baby daughter to 
run away with an ex-ring leader. After 
the death of her father, the child is 
brought up by the owner of the circus, 
and at eighteen she marries secretly the 
son of a wealthy aristocrat. His irate 
father tries to break up the marriage but 
here fate takes a hand. The millionaire's 
wife, who is the boy's step-mother, a 
charming woman living in constant fear 
of her past becoming known to her hus- 
band, proves to be the mother of the de- 
spised circus girl, while the man em- 
ployed by the millionaire to wreck his 
son's home is the same man with whom the 
girl's mother ran away. When this man 
is shot in his rooms, and the boy is given 
the third degree he confesses to the murder 
of which he is innocent. The girl, learn- 
ing the truth concerning her mother and 
attempting to save both her mother and 
husband, falsely testifies to the murder. 
The unhappy mother now confesses her 
part in the murder. The boy is freed and 
he and his wife are reunited. The acting 
is good, but the story though interesting is 
too sentimental. 

For the general audience. 

(Warner — 8 reels)) 


Directed by Charles Brabin 

Featuring Colleen Moore 

\ovel " Limehouse Nights" hy Thomas 

T^HROUGH the fog and evil of F.ime- 
*■ house, Twinkletoes, the one bright 
spot in the otherwise sordid life of the 
slums, dances her way into the hearts of 
whites and yellows alike. Her father, 
whom Twinkletoes idealizes, paints signs 
by day but at night carries on a smuggling 
business. His one fear is that "Twink," 
as she is known by all who love her, might 
discover his secret, and so he determines to 

quit as soon as his last shipment is dis- 
posed of. A prize fighter married to a 
drunken and dissolute woman, falls in 
love with "Twink" and she returns his 
iove. On the night of her triumph in the 
theatre "Twink" learns the truth about 
her father, who has just been arrested. 
She finds herself in the clutches of her the- 
atre manager and after a valiant fight she 
runs away from Limehouse. Later she is 
shown working on a farm, and there her 
father and lover come to her, the one hav- 
ing been freed from prison, the other from 
his drunken wife. The atmosphere of 
Limehouse is well portrayed throughout, 
and the picture holds the interest, although 
somewhat long. 

For the mature audience. 

(First National — 9 reels) 


Overnight from Paris 
(World We Live In Series) 
Various views of French scenery. 
For the family audience including chil- 

( Fox — 1 reel ) 

*Pathe Review No. 1 

Philippine Flappers; The Workshop of 
Nature, delicate wild blooms; Diving 
Dancers, in the air and under water. 

For the family audience including chil- 

(Pathe— 1 reel) 

*Pathe Review No. 3 

A Unique Hobby, operating a railroad 
system; The Island of Jersey in the Eng- 
lish Channel; The Lost Empire of Africa, 
American Excavations in French North 

For the family audience including chil 

(Pathe— 1 reel) 

*Pathe Review No. 4 
Japanese Joys, the Cherry Blossom fes- 
tival frolic: Paul Puss in "Pussy Poses." 
pathecolor novelty; Making Uncle Sam's 
Loud Speakers, the manufacture of big 

For the family audience including chil- 

(Pathe— 1 reel) 

*Pathe Review No. 5 

The Little Niagara of New Zealand, 
Huka Falls; Shrewsbury Castle in Wales; 
Hunting a la mode, bagging game by 

For the family audience including chil- 

(Pathe— 1 reel) 


(Sportlight Series) 
Showing all manner of indoor sports 
which are not dependent upon fair weather. 
For the family audience including chil- 

(Pathe— 1 reel) 


Are Brunettes Safe? 

Featuring Charlie Chase 

Brunettes are dangerous but nice. 

For the family audience including young 

people. (Pathe — 2 reels) 

Cinder Path 

(Collegian Series) 
Featuring George Lewis 

The College track team in action. 

For the family audience including chil- 
dren. (Universal — 2 reels) 

Felix the Cat Trumps the Ace 
(Pat Sullivan Cartoon) 

Felix breaks into a circus and steals the 
crowd from the clown. 

For the family audience including chil- 
dren. (Educational — I reel) 

Flashing Oars 

(Collegian Series) 
Featuring George Lewis 

Rowing race at College. 

For the family audience including young 
people. (Universal — 2 reels) 

Up Against It 
Slapstick of comic sheet. "The Gumps." 
For the family audience including chil- 

(Universal — 2 reels) 

Service of the Y. M. C. A. 

Motion Picture Bureau 
By George J. Zehrung, Director 

THE purpose of the Y. M. C. A. 
Motion Picture Bureau is to pro- 
vide film material at the lowest possible 
cost, and to discover and promote the 
most effective methods of its presenta- 
tion and adaptation to the programs of 
churches, clubs, industries, grammar, 
high and technical schools ; colleges, 
communit\- and welfare organizations 
and similar institutions in addition to 
\. M. C. A.s. Since these organizations 
prefer to secure their film subjects from 
a central source, the continu<iusly grow- 
ing demand for films has developed this 
Bureau into one if the most effective 
channels for the release of educational 
and industrial subjects in the non-the- 
atrical field. Twelve years' service has 
won the confidence of the exhibitors and 
owners of industrial subjects. 

The Bureau, with offices in New 
"^ ork and Chicago, reports that it has 
furnished a total of 24,216 progr.ims, 
consisting of 68,804 reels to 919 different 
exhibitors in churches, schools, industries, 
community and welfare organizations 
and "\ . M. C. A.s during the past twelve 
months. The total attendance at these 
exhibitions was 6.649,400 people. This 
service is rendered to these organizations 
without cost except transportation. 

Catalogs mav be had upon request, 
120 \V. 41st Street, New York, \. Y. 

Jaiiunry, Nineteen Twenty-seven 

Better Films Conference 

Annual Meeting will be Meld in 
New York City January ij-iq. 1927 

''T^HE Motion Picture, Its Broaden- 
ing Influence and Uses" will be the 
keynote of the Third Annual Better Films 
Conference which will be held in New- 
York City, at the Hotel Waldorf-Astoria, 
January 27th, 28th and 29th, 1927, under 
the auspices of the Better Films National 
Council of the N.\ti<)nai. Board ok Rk- 
viKW. The sessions of the Conference bej^in- 
ninji on Thursday morninj;, will conclude 
with the Annual Luncheon of the Na- 
tional Board ok Review on Saturday, 
Jaiuiary 29th, at 1 o'clock. 

Fhursday morninj;, January 27th, the 
delegates to the Conference will attend 
pre-release reviews of motion pictures in 
the projection rooms of the various com- 
panies with the review committees of the 
National Board ok Review, and the 
Conference will be formally opened that 
afternoon. Dr. William B. Tower, De- 
partment of Surveys of the Methodist 
Board of Foreign Missions, and Chair- 
man of the National Board ok Review 
and of the Better Films National Council, 
will preside at all sessions. 

Among the topics which will be pre- 
sented during the various sessions of the 
conference will be The Social Influence of 
the Motion Picture. The Psychological 
Influence of the Motion Picture on the 
Community; The Influence of the Mo- 
tion Picture on the Home and on the 
Family. "The Motion Picture as an 
Entertainment Medium" will be the 
topic for the Friday morning session 
and talks will be given on the Mo- 
tion Picture and the Theatre ; The Spe- 
cial Picture for the Special Audience; De- 
velopments in Motion Picture Production, 
Exploitation and Distribution ; The Ama- 
teur Cinema Cameraman. Friday after- 
noon, the topic will be "The Motion Pic- 
ture in Cultural, Educational and Re- 
ligious Fields" and there will be talks 
on Clubwomen and the Motion Picture, 
Teachers, Ministers, Artists and the Mo- 
tion Picture; Schools, Museums, Libraries 
and the Motion Picture. "The Motion 
Picture for Specialized Uses," the topic 
for Saturday morning, will be illustrated 
with motion pictures, and Motion Pic- 
tures in Industrial Education will also be 

Among the speakers who have already 
been secured for the Conference are Dr. 
Francis Tyson, of the University of Pitts- 
burgh; Prof. H. E. Jones, Department of 
Psychology, Columbia University; Miss 
Louise Connolly, Educational Expert of 
the Free Public Library and Museum. 
Newark, N. J.; Gov. Carl E. Milliken, of 
the Motion Picture Producers and Dis- 
tributors of America, Inc.; Eric Clarke. 

.Manager of Eastman Theatre, Rochester, 
.N. \.; Howard Diet/,, Director of Pub- 
licity and .Advertising, Metro-Cioldwyn- 
.Mayer Picture Corporation; Hiram 
.Maxim, President of the Amateur Cinema 
League; Harry D. Wescott, Director, De- 
partment of Public Service and Education, 
Stanley Company of America; Mrs, Anna 
Steese Richardson, director of the Good 
Citizenship Bureau of the Woman's Home 
Companion; Prof. Leroy E. Bowman, De- 
partment of Social Science, Columbia Uni- 
versity, and Secretary, National Commu- 
nity Center Association; Dr. Clyde Fisher, 
Curator of Visual Education, American 
Museum of Natural History; and Huger 
Elliott, Director of Educational Work, 
Metropolitan Museum of Art, 

Terry Ramsaye, author of "A Million 
and One Nights" will give a History of 
the Motion Picture on the Thursday 
evening program, telling of the develop- 
ment of motion pictures from the incep- 
tion of the idea to the present day. Fol- 
lowing this address, there will be presented 
on the screen "Thirty Years of Motion 
Pictures," an assemblage, in historical se- 
quence, of pictures of exceptional value 
from the beginning of picture making to 
the present time. 

The registration fee for the entire Con- 
ference, including the evening programs 
and the concluding event, the Annual 
Luncheon of the N.ational Board of Re- 
view, will be $7.50. Special arrangements 
may be made by those wishing to attend 
only part of the Conference sessions. The 
Annual Luncheon tickets may be secured 
for S3. 50. 

Sermons in Pictures 

By Thos. F. Opie, D.D. 
Riilnr. (Church of the Holy Comforter . 

Burlington. N. C. 
T F Shakespeare could see sermons in 
stones we of today ought to be able to 
see sermons in pictures. In the South 
there is still some prejudice against show- 
ing motion pictures in churches — and I 
doubt not there is some of this feeling in 
other parts of the country. It is inevit- 
able that this prejudice must vanish 
sooner or later, as the cinema is coming 
more and more into religious as it is into 
commercial significance. 

With the organization of The Religious 
Motion Picture Foundation, with the 
sympathetic study of the motion picture 
for religious purposes by the Federal 
Council of the Churches of Christ in Amer- 
ica and with the present increase in the 
actual use of pictures by many churches 
all over the land, it is assured that more 


and more people everywhere are destined 
to see sermons in motion pictures — and to 
be immensely Impressed, enlightened, in- 
spired — and indeed, happily, entertained. 
We have recently adopted Sunday mo- 
tion pictures and our attendance has In- 
ci eased over five hundred per cent. The 
pictures have patently conveyed a lesson 
more graphic and more gripping and more 
lasting than could the most eloquent of 
spoken discourses. Our first showing was 
the beautifully reverent Pilgrim's Prog- 
ress. This story familiar to everyone has 
been strikingly picturized and It thrilled 
and stirred a large audience. We have 
also shown Deliverance, a picture built up 
around the unique life of .Miss Helen 
Keller. No description of this film really 
describes, there is allegory, symbol- 
ism, realism, inspiration, pathos, humor, 
and religion in plenty in this most worthy 

The Fool, another of the best known 
religious stories in the movies, was shown 
twice with marked effect on all who saw 
it. This story of a minister who essayed 
to live as he thought Jesus Christ would 
live in this complex modern age, has been 
remarkedly worked out in pictures; it 
bites at, tears and ridicules hypocrisy, 
sham and folly as no sermon could pos- 
sibly do. 

Over the Hill, formerly Over the Hill 
To the Poor House, was shown to a 
packed house. This too is a slap at hy- 
pocrisy, filial infidelity and disloyalty. 
Forty years of mere preaching could never 
impress a lesson such as this picture con- 
veys. It seems a pity that a more obvious 
title and a more original one could not 
have been devised for this film, but the 
drama itself is Intense and gripping. We 
have booked Thank You and The An- 
cient Mariner for early showings. 

It is my custom to speak on a given pic- 
ture on the Sunday following its showing, 
basing the discourse on both the main 
theme of the film and on subordinated 
ideas suggested by the picture. Pictures 
like The Ten Commandments. Ben Hur, 
The Fool and Over the Hill are particu- 
larly rich in subject matter for a sermonic 

Pictures are shown free but an offering 
is taken at e<ich service and up to now 
this has covered rentals, with a small mar- 
gin, which goes into a "motion picture 
fund" for the church. A committee passes 
on the pictures to be shown. .\ short ser- 
vice consisting of a hymn, Bible reading 
and prayer, precedes each showing and a 
prayer, hymn and the benediction follow 
the "sermon in pictures". The audience 
is impressed with the fact that we are 
having a service of worship, in which the 
sermon is visualized Instead of heard, and 
the innovation so far has been a complete 

Better Films Conference 


Waldorf-Astoria Hotel 
January 27th, 28th, 29th, 1927 

All who are interested in motion pictures will certainly wish 
to be present at this conference devoted to the subject "The Mo- 
tion Picture, Its Broadening Influence and Uses." 

Addresses by prominent speakers will be g-iven at the various 
sessions, which will be interspersed with uni(|ue showings of 

Social Influence of the Motion Picture. 

Psychological Factors in Response to Motion Pictures. 

The Motion Picture and the Home, the Child and the Adult. 

The Motion Picture as an Entertainment Medium. 

History of the Motion Picttire. 

The Motion Picture in Cultural, Educational and Religious 

Specialized Uses of the Motion Picture, 

are the many angles of the theme to be presented. 

Those who cannot attend for the entire three days will have a 
chance to choose from an abundant program that phase which 
most appeals to them. 

The concluding event of the conference will assuredly be 
marked on all the New Year calendars as one not to be missed — 


Waldorf-Astoria Hotel 
January 29th, 1927 


National Board of Review of Motion Pictures 

70 Fifth Avenue 

New York, N. Y. 




{Combining "Exceptional Photoplays," "Film Progress" and "Monthly Photoplay Guide") 

Vol. 2, No. 2. 

February, 1927 

Annual Luncheon and Conference Number 

Published monthly by tbe 

National Board of Review of Motion Pictures 

) cents a copy 

Established by The People's Institute in 1909 
70 Fifth Avenue, New York, N. Y. 

S2.00 a year 


A Hint to the Wise! 

IF YOU enjoy this issue of the 
MEW MAGAZINE tell your 
friends ahout it — tell them of this 
unique publication in the motion 
picture held — treat your friends by 
passing on to them news of some- 
thing^ interesting. 

Don't let them attend the pic- 
tures indiscriminately ami then say 
they are all bad — help them to know 
which are the good ones to see so 
that thev too will come away satis- 

just for little more than the price 
of a motion picture theatre ticket 
it is possible to learn of all the worth 
while pictures for an entire year. 

Could $2.00 be better spent than 
by filling out the blank below, thus 
being assured of knowing how to 
get your money's worth in motion 
picture entertainment? And there 
is valuable reading in addition to 
])hotoplay reviews. 

70 Fifth Avenue 
New York City 

For the enclosed $2.00 cheque, send the 

City . . 



February iqiy 

We Have Lunched Before 

Bettina Gunczy 3 

The Screen's Biography — "A Million and One 
Nights" reviewed by 

Alfred B. Kuttner 6 

Clearing the Critical Jungle 

Seymour Stern 8 

Exceptional Photoplays 

Flesh and the Devil 11 

The Night of Love 14 

Rose Bernd 16 

The Third Better Films Conference 17 

Selected Pictures Guide 21-22 


Johnny Get Your Hair New York 

Cut The Potters 

The Kid Brother Wandering Girls 

The Last Trail Winners of the Wilderness 

McFadden's Flats Wolf's Clothing 

Non-Feature Subjects 

Crowd Bait 

My Lady's Stockings 

Pathe Review No. 6 

Pathe Review No. 7 
Pathe Review No. 8 

Short Comedies 
Should Men Walk Home? 
Better Films Activities 


Copyni/lit 1927, The Sational Board of Review of Motion Pictures 

National Board of Review Magazine 

Dr. William B. Tower, Chairman 
Dr. Myron T. Scudder, Treasurfr 


Edward A. Moree 

Walter W. Pcttit 

Mrs. Miriam Siitro Price 

Dr. Myron T. Scudder 

Dr. Albert T. Shiels 

Dr. William B. Tower 

George J. Zchrung 


•it til Avenue, New York City 
Published Monthlx 


Wilton A. Bakkett, 

Executive Secretary 
RuTii Rich 
Alfred B. Kuttner 
1'°>AKCES C. Barrett 
Bettina Gunczy 

Volume 2, Number 2 

I'ehruarv, 1^'J 

20c a copy, $2.00 

We Have Lunched Before 


THE year of 1927 rounds out one dozen years of 
successful, interesting and stimulating Annual 
Luncheons of the National Board of Review 
and it is a matter of pride for the Board to record 
that each Lunchean has drawn a larger audience than 
the preceding one. This is not surprising when one 
considers the line-up of excellent speakers bringing 
messages which linger through the year and impel one 
to attend each season. 

The National Board was organized in 1909, but 
the year 1916 saw the first of the public Luncheons 
appear on the horizon, affairs which have grown into 
prominence, not only in New York City, but through- 
out the country, bringing people from many states to 
this annual gathering of those interested in the Na- 
tional Board and its work. 

The Luncheons began in a modest way. They were 
initiated at a luncheon meeting held in the Astor Ho- 
tel, February 5th, 1916, w^ith 149 present. The first 
regular Annua' Luncheon was held the following fall, 
November 18th, at the Astor Hotel, with an inter- 
esting program of speakers, including Stephen Bush, 
Editor of Moving Picture World, who spoke on "The 
National Board of Review and the Motion Picture 
Industry," Campbell MacCulloch of the Triangle 
Film Corporation on "Getting the Right People to 
the Movies", William XL Seabury, General Counsel 
of the National Association of the Motion Picture 
L'ldustry speaking on "Reconciliation of Commercial 
Needs with Ethical Ideals", also Mr. Henry Mos- 
kowitz, who spoke of his early experience as a mem- 
ber of the Board of Appeals when the closing of the 
Motion Picture theatres had been considered by the 
Mayor, and Mr. Sidney Drew on "The Camera as 
an Audience". 

The 1917 Luncheon, which, on account of war con- 
ditions was in the nature of an informal meeting, was 
held at the Peg Woffington Coffee House, Novem- 
ber 26, 1917, with a discussion of the war activities 
of the Board. 

In 1918 tlie Luncheon was a spring affair, held May 
Jrd. It also was hampered by existing war conditions 
but was an interesting gathering notwithstanding. 

The speakers numbered John C. Flynn, Publicity 
Director of Famous Players, who spoke on the "Art 
of Advertising the Motion Picture in Its Nation Wide 
Aspect", Hetty Gray Baker, Editor of the Fox F'ilm 
Corporation, who spoke on the "Art of Assembling 
Film Productions", and George Middlcton, the noted 
American dramatist, on "Scenario Writing from the 
Dramatist's Point of View". Cranston Brenton who 
was at that time Chairman of the National Board pre- 

The 1919 Luncheon started off with the very in- 
clusive and intriguing subject of the "Impressions of 
the Motion Picture Fan, Does He See What He 
Wants To See, And Does He Know What That Is?" 
It was discussed by Mr. H. E. Jenkins, District Su- 
perintendent of Schools, New York City, who speak- 
ing for the child, said "I know what I want better 
if someone who knows better than I will train me 
to it." 

Miss Anita Loos of the now well known "Gentle- 
men Prefer Blonds" fame spoke even then on prefer- 
ence, for her subject was "What the Public Wants in 
Motion Pictures". She said, "I do not think, how- 
ever, that producers will succeed who try to give the 
public a message it has not called for." 

Mr. Rothafel, of the Rivoli and Rialto theares 
then took his turn upon tlie topic of the Luncheon, 
which had been announced by Mr. Lester Scott, pre- 
siding officer as, "What is the True Reflection of Pub- 
lic Opinion in the Regulation of Motion Pictures?" 

.Mr. Rothafel said, "Directors of motion pictures 
are too busy today trying to control the industry. 
There is not enough idealism, entirely too much com- 
mercialism and not enough respect for the intelligence 
of the audience. I have heard directors say repeat- 
edly, 'Oh, that will go over their heads,' yet I have 
seen audiences appreciate the most subtle things. I 

National Board of Review Magazine 

believe tlie motion picture will not make great ad- 
vances until we get more subtlety and idealism." 

He was followed by Everett Dean Martin, author 
and lecturer, who gave an interesting definition of 
public opinion. "I am wondering if there is any pub- 
lic in the first place? I begin to think we are mis- 
using the word public. Public opinion is not a lot of 
private opinions chopped up. You cannot collect pri- 
vate opinions. Public opinion is rather a way of put- 
ting ourselves on parade. Public opinion is rather 
what we think other people think we ought to think. 
But we have a personal self which is not thus hypo- 

Dr. Talcott Williams, Dean of the Pulitzer School 
of Journalism, said "To me the subject is nothing, the 
treatment is everything. Also the method, manner 
and particular province of art with which you are 
dealing. I disagree with the contention that the 
American public is not able to appreciate ethical judg- 
ments and art. I believe it is keen in both. But do 
not forget that there are two fields of art — the share 
of art which expresses the artist whose work lasts 
from century to century, also that which expresses the 
artist who interprets the public day by day. The 
moving picture is essentially the interpreter of its 
day, it reflects its standard, feeling and emotions." 

The gathering for the year 1920 was held Janu- 
ary 31, in the McAlpin, whicli had been the meeting 
place of the two previous Luncheons an interesting 
galaxy of speakers graced the affair. 

Miss Mary Shaw said, "In a general sense the the- 
atre is a citizen-making power. It stands with the 
church and the government and consequently it should 
have an appropriate place and enter seriously into 
consideration as a great educative force for the great 
mass of the people." 

Mr. William A. Brady, the President of the Na- 
tional Association of the Motion Picture Industry, 
spoke chiefly on censorship. "The greatest method 
of public propaganda is the motion picture. It is the 
most effective way of circulating propaganda and edu- 
cation. Why? Because here is one method by which 
information can be carried to every corner of America 
within 72 hours, it reaches every young man, old man, 
every child. It is the last thing in the country which 
should be censored. Give it all the liberty you can. 
The spirit of the motion picture industry is to go 
ahead. It wants to make a prouder record in this 
serious reconstruction period. Take the picture seri- 
ously. Insist on its being introduced in your schools. 
Boost the motion picture. Fight for it, scrap for it !" 
Dr. I'.verett Dean Martin, who was the presiding 
oflicer, next introduced Major Raymond Pullman, of 
the Metropolitan Police Dept., Washington, D. C, 
and Secretary of the Americanization Committee ap- 
pointed by Secretary Lane. 

The Author's League was represented by Rupert 
Hughes who related the experience with his picture, 
The Unpardonable Sin, before the Pennsylvania cen- 

In summing up his censorship remarks, he said: 
"A pity of this world is that we are continually fight- 
ing evils that do not exist with cures that do not cure. 
In China, there is erected in front of houses a devil- 
screen of such size as to protect the house from devils. 
We put up censorship that does not screen devils that 
do not exist. That is why I like the work of this 
Board. A certain amount of censorship is necessary, 
to test the market. Throw your influence against the 
sort of censorship that would besmirch every decent 

Miss Mary Gray Peck told of the reaction to cen- 
sorship agitation about which she had learned in her 
work in the various states. "The organized forces 
of self-righteousness in Massachusetts have a commit- 
tee of women backing up a strong movement for cen- 
sorship. They are going very strong. I went up to 
investigate how far they represented the public opin- 
ion of the state. The most effective propaganda for 
the National Board, with Massachusetts audiences, 
was for me to take your letter head and read off names 
of the organizations represented on the General Com- 
mittee. The other side would always preface their 
remarks by saying The National Board was a camou- 
flage for the producers. I would read these names 
and say, 'Is it possible for the National Board to be 
camouflage for the producers?' 

"In Virginia, I think the desire for the legalized 
enforcement of morality is on the decline. The spirit 
ot the moving picture men is going to result in co- 
operative arrangements. 

"I have since my Massachusetts experience had a 
new interpretation of the Book of Job come to me. 
. . . The three comforters were the original cen- 

The topic for discussion at the 1921 Luncheon was, 
"The Art of the Photoplay and its Relation to the 
Work of the National Board of Review". 

Col. Arthur Woods, former Police Commissioner 
of New York City, spoke of his keen interest in hav- 
ing incorporated in the American photoplay common 
incidents of everyday American life, "so that the con- 
stant exhibition of incidents of a typically American 
character will develop a true appreciation of our Na- 
tional ideals." 

Mr. Charles Miller who had recently been elected 
President of the Motion Picture Directors' Associa- 
tion of America, told of the difficulties encountered 
bv stage directors in developing the art of the screen. 
Mr. Whitman Bennett, the well known director, sev- 
eral of whose pictures had received consideration 
by the Exceptional Photoplays Committee, then 

February, Niiietetn Ttrenty-srven 

The serial motion picture, a unique development ot 
tlie motion picture as compared with the stage, re- 
ceived the attention of Mr. George Seitz, a leading 
producer of serials. 

A large audience was present and the e\ent was 
one of interest and enjoyment. 

Indicative of the widening activities of the Nation- 
al Board is the subject of the 1922 Luncheon, "The 
Motion Picture at Home and Abroad.' This Luncli- 
eon was held February 11th, at the McAlpin. A 
pioneer on the Board, Dr. Albert Shiels, led off the 
speakers with some thoughts regarding the foreign 
picture. "When you look at the foreign picture, you 
find it is more serious tlian the American protluct. 
. . . Not all foreign pictures are good — there are 
lots of dreadful foreign-made pictures. Now, tiie 
foreign picture is not coming here because we ha\c not 
gootl pictures — we ha\-e many of them; but they are 
coming here in a missionary cause. If we can get peo- 
ple from other lands to bring us their conception of 
life . . . all this talk about competing is secondary 
to the main point. . . . Let us see all the pictures 
from everywhere that see things as we do not see 
them. Let us give our humor, and get the F.uropean's 

Mr. John Emerson next spoke upon the proposed 
tariff on foreign films and Its effect on American pro- 
ductions. "We are not asking for a prohibitive tariff. 
We welcome the better European film as providing a 
healthy, artistic, stimulating competition. But we do 
ask a tariff which will bring the cost of foreign films 
up to somewhere what they would be if made in Amer- 
ica, and protect the industry in this country. . . . 
As to censorship: by censorship I do not mean the 
work of The National Board of Review. This board 
seems to me a sort of antidote for censorship. I am 
opposed to the whole idea of legalized censorship, 
because I believe It represents a spirit opposed to 
civilization and progress alike. . . . Producers fear 
not only what the censors do to pictures, but what 
they way do. . . . The best kind of supervision Is that 
which. The National Board Is trying to work out." 

Mr. Moree, the presiding officer, read a telegram 
from Mr. Will Hays, newly elected chief of the Mo- 
tion Picture Producers and Distributors of America 
regretting his inability to be present and expressing 
the hope that soon after March first he would meet 
with the members of the Board to discuss Its pur- 
poses and work out a basis of cooperation. 

The noted Motion Picture critic of the New York 
Times, James O. Spearing, gave a most stimulating 
address. Some of the high lights were : . . . "The 
question that presents itself to my mind is a genuinely 
artistic one. We want the motion picture screen 
brought to its highest point of development. It seems 

t(. me that one ot the fundamental faults has been 
that the medium, tiie language of kinetic photog- 
raphy, has been largely ignored and neglected. The 
photoplay began as a substitute. ... It must be 
beautilul and expressive In the artistic sense; a picture 
must possess harmony, unity, life and arrangement 
sucii that we can take it in easily. The expressiveness 
of motion pictures Is absolutely new. In motion pic- 
tures we want a story: in this they are not like paint- 
ing. It takes more intelligence and hard work to 
make such pictures. They mean more to the Imagina- 
tion of the people who see them. 

"One of the things that has made the foreign pic- 
tures attract so much attention is that they have 
proved a revelation of what may be done with this 
medium of expression. I want America to make the 
best pictures. If we cannot make good pictures, pic- 
tures that will stand up with the European pictures, 
then we ougiit not make pictures. It is trite to say 
that the motion picture Is In its infancy. My feeling 
Is, let us take this infant and not stunt Its growth." 

Mr. Hugo Ballln, the producer, then told of devel- 
opments in motion picture technique lately made and 
to come, and his hope for a practicable motion picture 
camera which will give stereoscopic vision. 

Our present mayor, then Senator James J. Walker 
and Counsel tor the Motion Picture Theatre Own- 
ers of America, began his talk in his well known amus- 
ing fashion saying, "I have enjoyed this discussion 
very much. In fact, for a while during the discussion 
on the tariff I felt as If I occupied a position similar 
to that of the woman who watched her husband and 
a bear fighting. She said it was the first time she ever 
saw a fight In which she didn't care which side won. 

. . I hope the National Board of Review, 
composed of sensible men and women with no axe 
to grind but working just for the good of the screen, 
will alone be our censors, the helpful censors. . . . 
The morion picture theatre owners are turning over 
their theatres without cost to the schools and high 
schools for the exhibition of vocational films to assist 
boys and girls in choosing their vocation. The critic 
who makes a good living objecting to motion pictures 
will eventually be silenced by this campaign of voca- 
tional education." 

Mr. Benjamin Chrlstensen, the famous actor-pro- 
ducer of Denmark, director of the momentous film 
The frilcli just then finished, after apologizing for 
his faulty English, said "I have made only three films 
in nine years, so I am a good fellow, you have nothing 
to be afraid of In me. An American gentleman has 
tohl me my latest picture is impossible, it is twenty 
years ahead of the time. He says, 'You can go to 
(he universities with it, but not to the picture houses.' 
But I do not believe him. I believe that if you can 
In two hours tell millions of people something they 
{Cniiluiiifd uti juiye 18) 

Stilional Bnnril uf Revieiv Magazine 

The Screen's Biography 

"A Million and One Nights" by Terry Ramsaye 

A Review by Alfred B. Kuttner 


\\\: task of the reviewer is considerably sim- achievements must he studied long after they came 
plified when the book before him is the only into being; its origin, growth and decay must be taken 
one which exhaustively covers a new field in ' ' 

pioneer fashion. Such is the case with ./ Million 
and One Nicjiits. Mr. Terry Ramsaye has under- 
taken to report the history of the motion picture. 
He has treated his task like an ideal assignment in 
a grand wish-fulfilment of the reporter's dream to 
have his article start with a headline across the entire 
page and running on to unlimited pages, with no 
editor to cramp his style and no make-up man to 
crimp his space. His history of the motion picture 
is a journalistic marathon. 
Now Mr. Ramsaye's 











■ ; ^U^B 

manner may at first put 
you off. His crisp para- 
graphs and liearty top- 
ical style with its many 
quick allusions culled 
from a wide experience 
in the field of journal- 
ism and publicity work 
may make you think 
that he is intent upon 
putting over the movies 
in a super-movie man- 
ner. Yet his perspective 
is of the widest and his 
attitude is thoroughly 
objective. He is not 
taken in by the movies 
even though he has 
taken tliem into his 
heart and saturated his 
mind with them. He knows what they are all about. 

His 'book is no panegyric. And yet in a way it is a 
paean. Mr. Ramsaye has heard the music of civili- 
zation that has been caught up in the movies. In that 
way the book becomes profound. Also it is profound 
as an example of shirtsleeve scholarship. F'ive years 
of labor and research have gone into the making of it. 
That is more time than it would take to knock off 
two Ph.D. theses. 

In his foreword the author makes the following 
interesting point: "For the first time in the history 
of the world an art has sprouted, grown up am] blos- 
somed in so brief a time tiiat one person miglit stand 
by and see it happen." Having himself seen it hap- 
pen he proceeded to record tliat liappening. 

This point is exceedingly well taken. The history 
of every other art is thousands of years old.' Its 

The Kiss. I'ictured in 1S!I6 by May Irwin and Jchn C. Rice. This picture ga-cc 
the Screen censorship tnoi'ement at its start. FromTerry Ramsay's "A Million and 

One Nights." 

Irom dead records. Some of these arts themselves 
have been dead for a considerable time. Their eco- 
nomic determinants, their technique, their physcholog- 
ical structure ami social significance are still the sub- 
jects of elaborate postmortems. 

Mr. Ramsaye is able to do all these things at one 
and the same time. He investigates the invention of 
the motion picture as a mechanical device while 
watching it develop as a business and a new economic 
giant. He examines its claim to art and seeks to in- 
terpret its psychology. He studies it from the so- 
ciological aspect and 
\iews without alarm its 
ever increasing hold 
upon our life. Always 
he is arresting and in- 

The inventing and 
perfecting of the mo- 
tion picture of course 
arises first and requires 
much space. When you 
have read that part of 
the book you are left 
with the impression'that 
the motion picture was 
bound to come, who- 
ever invented it. That 
is true of so many ma- 
jor inventions. Print- 
ing, gun-powder, flying, 
were the inventions of 
eras as much as of iiuli\iduals. In this case specific 
credits go to Edison and his staff of laboratory work- 
ers. He was the physical father of the motion pic- 
ture. But there were many godfathers. Some of 
them are still arguing. They have a fine child to talk 
about! And of course many years of experimental 
labor were required before this earliest primitive 
kinetoscope could become the complicated motion pic- 
ture camera of to-day. 

The development of the motion picture as an in- 
dustry — for this is also the first case on record where 
men set out to nianitf(Ulnrc an art — runs side by side 
with the evolution ot the earliest type of peep-show 
picture into a mature and aesthetic entertainment. 

As soon as the motion picture emerged from its 
Coney Island side show phase it displayed its ten- 
dency to develop along those monopolistic lines which 

February, Wnetrrn Tu'enly-seven 

The l;jii 

I<l.:,k Marin," tlsr Fir't \l,'tiitv Pictur 

to-day make it one of the leading illustrations 
of the so-called vertical trust. Mr. Ramsaye's al- 
ready famous dictum that the motion picture is main- 
ly concerned with the two universal instincts of com- 
bat and sex applies here too. At the business end of 
the motion picture you will find almost nothing but 
combat. Mr. Ramsaye has delved deeply into the 
minutes of innumerable law suits and into many news- 
paper files to bring out the ebb and tide, the color 
and the romance of this side of his subject. 

Despite the fact that the artistic development is 
scarcely two decades old, you are struck by the fact 
that in the beginning this was very slow. At first 
only the simplest effects were aimed at and achieved. 
These early years must of course be looked upon as 
the equivalent of centuries in the development of the 
other arts. On that scale of comparison motion pic- 
tures remained primitive almost as long as early 
Italian painting or as music during the Middle Ages. 
The simplest animation of the performers, the gal- 
loping of horses or reproductions of- slight-of-hand 
effects were considered wonderful anil sufficient. Time 
and again motion pictures were about to be dismissed 
as mere toys until the next and obvious step forward 
was hailed as revolutionary. At first the motion pic- 
ture was little more than a titillation of our kinetic 
responses. The coming of structure and design, of 
progression and unity, without which there can be no 
art was not always so fast if wc bear in mind tiie 
foreshortened perspective of our point of view. 

The wealth of material which Mr. Ramsaye pro- 
duces in tracing these early steps in the development 
of the motion picture as an art make it tempting to 

d On- A iijhis" 

try a psychological interpretation of some of these 
phases in terms of the individual psychology of P>eud 
and his followers. Mr. Ramsaye is out of patience 
with the trite remark so often repeated that "the mo- 
tion picture is scill in its infancy." Of course it is 
silly to say that and in the same breath speak of 
screen epics. But would it not be true to say that 
motion pictures have retained a good many of their 
infantilisms which are as much the ear-marks of im- 
maturity here as in the adult who displays them? Is 
the conventional ending of so many pictures in a 
racing finish anything more than a survival of those 
first pictures of the feet of galloping horses? A num- 
ber of such infantilisms could easily be traced. But 
perhaps that had better be left to some of our old 
line directors. 

In touching upon the social aspects of the motion 
picture, Mr. Ramsaye touches briefly upon a very in- 
triguing theory. Contrary to the accepted opinion 
wliich sees an intimate connection between the general 
type and content of pictures and the mental back- 
ground of our rural communities, he boldly refers 
them to the ideology of our slums and large foreign 
population centers. He finds that they most truly 
nourish the spiritual wants and imagination cravings 
of these dwellers in tlie darkness of our civilization. 
The most vital art of our machine age calls most 
clearly to the greatest \ictims of that age. It nour- 
ishes them with its ideal of life, consoles them with 
its religion, and perhaps also numbs them with its 
spell. It allows them their greatest wisii-fuUilment. 

"A Million and One Sights," by Terry Ramsaye, 2 lols. Simon and Schuster. 
? 10.00. 

National Board of Review Magazine 

Clearing the Critical Jungle 


FROM the outset, motion picture criticism has 
been based upon a false assumption, namely, 
that the motion picture is an offshoot ot 
the theatre, a form of dramatic expression which 
has to be judged on the same grounds as the drama, 
by the same aesthetic laws and the same tradition. In 
the beginning there was no criticism; but later, when 
college graduates and old-time reporters required an 
outlet for their ignorance, "critics" were inaugurated 
on metropolitan newspapers ami further contribu- 
tion was started straightway to the hopeless confu- 
sion which already prevailed. The first real film- 
criticism, however, was a masterpiece of insight into 
the nature of the medium. Henry MacMahon's spe- 
cial essay on The Birlli of a Aiitiou, in The New 
York Times of June 6, 1915, Section 6, p. 8, has 
now a distinctly historical value. It contains the first 
intelligent discussion of the close-up, the fatle-out and 
the flash-back, as quoted from a magazine article by 
James Shellev Hamilton published at that time, and 
stipulates the far-sighted principle that "the picture- 
maker has to use the rapier of suggestion rather than 
the bludgeon of logic". Vigorous protest is also 
made against the habitual propensity to discuss the 
screen in terms of the stage. Manifestly inspired 
by Griffith's chef d'oeiivre of the Civil War, Mr. 
MacMahon attained in this piece a pitch of enthus- 
iasm and a sagacity of perception, which, for some 
years, kept his work unique among criticisms. We do 
not come across anything more astute in its aesthetic 
analysis or more cinematic in its point of view until 
the Herman G. Scheffauer papers on the treatment 
of space in Cal'igari, published in The Freeman of 
December, 1920, under the collective title, "Vivifying 
Space." Neither The Times's sweeping review of 
Intolerance nor its discerning remarks on John 
Emerson's cinematization of Macbeth contributes a 
greater impetus to the rise of a cinema philosophy. 
By this time, several books of serious import have 
been published, and the influence of these is re- 
flected in a measure in the work of James O. Spear- 
ing on The Times. Vachel Lindsay's "The Art of 
the Moving Picture" the pioneer-book of film- 
criticism, Hugo Muensterberg's "The Photoplay: A 
Psychological Study", and Walter Bloem's "The Soul 
of the Moving Picture", translated from the German, 
and, in England, the little-known work of Alexander 
Bakshy in "The Path of the Modern Russian Stage", 
"The Kinematograph as Art", "Living Space and the 
Theatre" and in his "Aesthetic". Spearingmay or may 
not have read these works; but his own diligence, his 
own painstaking efforts to reconcile the readers of his 

department to the idea of art in the cinema and his 
notable attempt to shy from bastardizing influences, 
Irom corrupt forms of cinema, such as color-vision, 
incline me to think that perhaps he had an acquaint- 
ance with some of them. I doubt, however, whether he 
or many others ever read Bakshy, because this great 
critic and even-tempered philosopher seems to have 
pttracted practically no attention at all in America; 
but it is altogether likely that Spearing subscribed to 
some of the tenets of Lindsay, who, with reservations, 
deserves to be considered even to-day the foremost 
authority on the films. 

All liuring this period we can trace the evolution 
of a new attitude: an attitude which separated screen 
from stage and thought of the former in its own 
terms, rather than, as previously, in terms of the 
latter. I-',lsewhere I have made an exhaustive study 
of the differences between these two mediums, but 
,1 will give here, briefly, what seems never to have 
been adequately or accurately stated : that the mov- 
ing picture is an essentially primitive language-sys- 
tem; that it depends for its communication on cer- 
tain potent factors which are inextricably bound up 
with the fundamental emotions, namely, grimace and 
gesticulation (to the latter of which Wundt traced 
the origin of language) ; and that, in consequence ot 
these properties, as well as of six screen-stage dis- 
tinctions, too complex to be dealt with in this article, 
but forming the basis of a future essay, the moving 
picture and the drama are, and must remain, two 
independent, mutually exclusive arts, to attempt to 
unite which, either in theory or in practice, must re- 
sult in the corruption of the one at the expense of 
the other and in death to both. It was the realiza- 
tion of these truths that began to glimmer about the 
year 1920, when the first German film, Lubitsch's 
Passion, came to America. The year 1921 was the 
most auspicious for the development of the 
cinema as an art-form since The Birth of a Nation. 
Criticism rose to real heights, and the German pic- 
itures which flooded the country left everywhere the 
first stimulations of taste produced by their "incur- 
sion" into America. The coming of Caligari marked 
the first wave of "intellectual conversion". Almost 
every high-hat publication in America condescend- 
lingly permitted a laudatory effusion to appear upon 
•the pure paper of its hallowed pages. The only dis- 
appointing feature of the event was that none of the 
criticisms succeeded in focusing a great deal of at- 
tention on Caligari. Had they done so, the history 
of the screen subsequent to 1921 might be a far dif- 
ferent thing from what it is. 

February, Nineteen Twenty-seven 

Many papers, essays, long and short, appear after 
1921, but there is nothing ot outstanding significance 
■until Seldes's chapters on the cinema in "The Seven 
Lively Arts." The appearance of this curious, beauti- 
fully written work is too recent to call for an exposi- 
tion of its contents. Prom the viewpoint adopted 
by this article, all that need be said about it is, that, 
while his opinions of various tilm-people, particu- 
larly of Griffith, are open to violent dispute, his aes- 
,thetic principles, especially the exquisite analysis of 
■Dect'pliun, are the finest ever written; and. while, 
unfortunately, they have none of the scope of Lind- 
say, and consequently none of Lindsay's great variety, 
they rely less on a consideration of other arts and 
ipossess an originality equal to that of Bakshy. The 
great mistake of Seldes, of course, was in classifying 
the motion picture among the "lively" arts, but this 
error he has since rectified. He now ranks the cin- 
ema high among the major arts. 

The decline of criticism since 1921 is in converse 
proportion to the advance of certain branches of the 
<inema itself. Towards the fall of last year, there 
was a great splurge which momentarily assumed all 
the proportions of a renaissance; of this, I hold John 
Grierson's essay on the necessity of a silent cinema 
to be the most important achievement. "It is the 
very silence of the screen", wrote Grierson, "which 
gives it its magic". But Grierson's piece of cinema- 
wisdom went for naught. If ever there was a hope 
that film-criticism might some day attain the ranking 
of a branch of literary art, if not actually of philos- 
ophy, it was rudely shattered by the laudatory press- 
reactions to the Vitaphone. Adjectives flew like 
sparks from a wind-swept blaze. All the studiously 
jjlanned principles laid down by Lindsay, by Bakshy, 
iby Herman G. Scheffauer, by John Grierson, by Gil- 
bert Seldes, by the present writer in his "Category of 
the Seven Fundamental Entities Which Constitute 
{he .\esthetic Cinema", were forgotten, went to pot 
and smash, before the mechanistic magic of this lat- 
est corruption of cinema and Barrymore's extrava- 
gant and oversexed interpretation of Don Juan. 
The common sentiment was summarized in the as- 
sertion of one of the critics who wrote to the effect 
that "at last we may expect to see the screen united 
to the stage; at last we can look forward to Hamlet 
on the screen." With this line, the impetus of 1921 

came to a dead stop. 

* * . * * * * * 

The low estate of criticism in America is best 
explained in more general sociological terms. Amer- 
ica has grown cowardly. America as we know it is 
las far removed from old America, in spirit and in 
form, as old America, at the time of the Civil War, 
was removed from certain countries of Europe. 
The one thing we are unable to tolerate is honest 
criticism. In this, we bear all the earmarks of pros- 
perity; and in proportion as the prosperity increases, 

the capacity to digest strong, uncompromising criti- 
cism diminishes. I mention this because the motion 
picture industry seems in the present instance to be 
a typical reflection of America. The fact, I sup- 
pose, tiiat it is an industry at all, rather than a com- 
bination art-profession, is due to its inception as an 
entertainment in this country, instead of in l-'urope. 
But whatever the causes may be, it has at last reached 
the rather dangerous state of a petty tyranny, — 
.America, again, on a smaller scale. It has, in fact, 
reached tlie stage where it is no longer possible to 
offer a few candid opinions in the daily press, 
<iesigned solely for its possible amelioration, indus- 
trial or artistic 

An exception to this was the attempted criticism 
of Faust. But this, unfortunately, indicated, it 
seems to me, the complete absence of a genuine crit- 
ical appreciation of the art and of the critics' ability 
to see below the surface. They called Faust "a 
poem in pictures"; yet only portions of it entitled it 
to the dignity of this designation. Beautiful it was, 
unquestionably. But its beauty was chiefly pictorial, 
not dynamic. Its well-spring of effects consisted of 
compositions heroically conceived, exquisitely exe- 
cuted and liberally borrowed from famous paintings; 
only twice did the sensual element, the quality which 
Bloem said constitutes good film-adaptation, prevail: 
once, in the garden-sequence, when Faust pursues 
Marguerite at the edge of a forest, and the two go 
'round and 'round in a constantly accelerated whirl; 
and again, in the scene where Jannings rushes out to 
the belfry overlooking the town and shrieks to the 
night-wind mad cries of "Murder!" The flying 
cape, the black form, screaming over the turrets, 
^he sinister hustle-bustle, the diabolical dcliberate- 
oess of the action, made Jannings's Mcphisto, at this 
juncture, the quintessential portrayal of all the Satans 
iof literature, of painting, and of the films, — a com- 
plete conception, really, of the whole stock of tra- 
ditional Mephistophelian types. And the spirit of 
the scene was so thoroughly imparted through the 
movement, that even a child could have sensed the 
evil afoot. But Faust had few such moments, few 
such high points at which the audience was joined 
to the shadow-figures of the screen in a union of 
emotional sympathy and sensual understanding. 
I-lverything else was told in titles. It had to be. 
Murnau's inveterate penchant for static composition, 
for painting, at all times predominated over his sense 
tof cinema, over his slumbering will to "dynamize". 
What might not Faust have been if some of S. M. 
Eisenstein's dynamic movement and short shot tech- 
nique, such as made Potemkin memorable, had been 
injected into the picture? 

A motion picture does not become a poem until 
its component elements are treated subserviently to 
its leading quality: movement. Its poetry is the 
poetry of motion, of lines and patterns, of shapes 


National Board of Review Alagazinr 

and rhythms, in constant change, in endless transi- 
tion, in tempestuous metamorphosis. It follows, 
therefore, that when a supposetily original ami under- 
standing "critic" makes it a point, in one of liis spe- 
cial articles, to commend the present mania for in- 
jecting into pictures imitations of famous paintings, 
or compositions based on the works of old masters, 
he manifests a complete, and absolutely uncondi- 
tional, absence of any intelligence which can right- 
fully be termed "cinematic". The principle of 
movement on the screen must not be compromised to 
any dictum subordinate to it in the matter of dy- 
namics. This means that those films, commonly re- 
garded as "masterpieces", the predominant feature 
of whose scenes is their pictorial composition, ratlier 
than the style of movement animating that composi- 
tion, are not cinemas, and belong distinctly to an- 
other art. Thus condemned arc Ingram's The Four 
Horsemen, the very opening "shot" of which is a 
"still" — (an affectation of photography, I call it), — 
Mare Nostrum, Siegfried, parts of Faust, parts of 
■Roniola and a score of American films which have 
received praise of the most lavish description but 
which have no conceivable right to be called cinemas. 

The "still", however, has a definite place and a 
vital function in cinematic technique. While it has 
nothing whatever to do with tempo, — (movement is 
relative, the "still" is absolute), — it does bear a re- 
lationship to the preceding and succeeding scenes. 
It is simply the principle evolved by De Quincey in 
his essay on Macbeth: "All action in any direction 
is best expounded, measured and made apprehensi- 
ble, by reaction." The "still" constitutes the reac- 
tion, — the static complement to dynamic sequences. 
Nobody has appreciated this to the extent of Grif- 
fith. In The Birth of a Nation, every important 
cycle of scenes, the battle cycle, the assassination 
cycle, the rape cycle, the first Klan cycle and the con- 
cluding cycle, is punctuated with a "still", or a series 
of "stills", which consummates and crystallizes the 
preceding action. The climax of the picture is in 
a "still". But aside from this, one of the most ef- 
fective uses of the "still" I have seen occurs at the 
termination of the Civil War episodes. Three 
"stills" are successively flashed: each shows a trench 
or a field strewn with the motionless bodies of the 
dead. The camera simply roams o\-er the field or 
lingers above the trench like a silent, all-seeing spirit. 
Not an atom stirs. The sense of death is complete. 
Half of the philosophy of the film is projected in 
■these few "shots". That is the true, the legitimate 
use of the "still". 

The excessive use of the subtitle has been de- 
nounced in many quarters, but no critic has under- 
taken to say what the subtitle should really be, what 
its functions are and when it may be rightly used. 
It is well to observe the present tendency to decry 
subtitles, but a little more reflection on the matter 

will show that it is altogether possible to make the 
subtitle an actual part of the picture. Not, of 
course, by the silly and incompetent method em- 
ployed in Ben-Hur, that of superimposing the words 
over the action, because that checks the dynamic 
How, but by the \-ery sensible method of making the 
subtitle contribute more to the mood and effect of 
a picture than to its story. It is not a literary, but 
a psychological, affair. This is the truth, for in 
e\-ery case where the subtitle has been so used, the 
effect has been overpowering. Always, the subtitle 
must startle, must arouse, must illumine, must crys- 
■tallize, must consummate, must electrify. It must 
come as a magic word, either opening or closing an 
important episode. When it does more than this, or 
less, it destroys its excuse for being and maltreats 
its only function. At the same time, there must 
never be a word-climax. There is no such thing as 
a cinema with a word-climax. "The climax must be 
in a tableau that is to the eye as the rising sun itself, 
that follows the thousand flags of the dawn." 
(Vachel Lindsay.) 

"My heart is in the film," are the words of S. M. 
Eisenstein, the director of Potemkin, the Moscow 
Art film, now receiving much praise in New York. 
"I have found a new world in which my imagination, 
invention and originality have full scope. The the- 
atre is too limiting for the producer of big things. It 
Is almost Impossible to extend Its boundaries. Men 
have been trying to do so for years, employing all 
sorts of tricks with scenery and lighting, without suc- 
cess. The cinema Is boundless. To the producer 
who wants to handle the world and its masses, its ap- 
peal is irresistible. 

"There Is a vast untrodden field of material for 
pictures which the theatre has never touched, and 
never can touch. I refer to the 'class' and the 'mass' 
which are waiting to be substituted for the individual. 
The theatre Is capable of handling only the individual 

Extreme difficulty is found in handling the mass on 
the stage. It cannot be broken up to express mass 
psychology as a playwright analyzes an individual to 
express individual psychology. 

"Both the theatre and the screen must express the 
g:-eat problems of life, and there the resemblance 
ends. Their method of expression must be entirely 
different, with this exception, that In both cases the 
expression must come throug'h a predominating per- 
sonality. But in the theatre the personality is a single 
individual who is supported by other individuals rep- 
resenting the different aspects of the personality. On 
the screen the mass or class constitutes the personality, 
and this mass alone can be broken up so as to express 
all aspects of accepting Its very complex personality." 


February, Nimtttn Tiientx-Sfieii 


Exceptional Photoplays 

I-Ol'ISF. IIacknev 
Harriet Menken 
Edward A. Mdree 
Frances T. Patterson 
T. K. Paulding 
\\'altf.r W. Pettit 


A department Jct'oted to an impartial critique of the best in current photoplay 
production. Each picture before beiiit/ listed, is thorour/hly discussed by a volunteer 
committee composed of trained critics of literature, the stai/e and the screen, zvho 
are the sponsors of this department. The printed revicics represent the coniliined 
expression of this committee's opinimis. The rez'iezi's aim to conz'cy an accurate 
idea of the films treated, mentioning both their crcellencies and defects, in order to 
assist the spectator to vietc the productions tvith increased interest, appreciation' and 
discrimination. The re^nncs further try to brinn to the attention of the reader of 
special tastes or interests, or of sez'crely limited time for recreation, those photo- 
plays which genuinely contribute to the art of the screen. 



Alfked B. Kuttnf.r 

Flesh and the Devil 

Directed by Clarence Brown 

Photographed hy If'iUiani Daniels 

I'hr Cast 

Leo fan Sellenthin John Gilbert 

Felicitas I on Kletzingk Greta Garbo 

Ulrich Van Kletzingk Lars Hanson 

Hertha Prochritz Barbara Kent 

Uncle Kutoti'ski IVilliani Orlamond 

Pastor Bre-nckenbtirii George Fawcetl 

Leo's Mother Eugenie Besserer 

Count J' on Rhaden Marc MacDerniott 

Minna Marcelle Corday 

FLESH .L\D THE DFJIL is a compelling 
story convincing'y told. The theme with which 
it deals is a mature one whose appeal will be 
most appreciated by adult audiences. It is excep- 
tional in its portrayal ot that theme both through a 
wealth of good acting and high directorial skill. 

The story is based upon Hermann Sudermann's 
novel, "The L'ndying Past". A comparison between 
the adaptation and the original is greatly in favor of 
the picture which gains in strength by its simplification 
of a rather elaborate plot. The theme of Suder- 
mann's novel, dealing with the devastating effect of 
an alluring but unprincipled woman, coming between 
two men who liave been united since childhood by 
bonds of the firmest friendship, verges upon the melo- 
dramatic, always an outstanding characteristic in this 
novelist's work. Cut down to its essentials it is 
after all only another \-arIation of the familiar vam- 
pire plot. Ordinarily that would in itself be enough 
to make the discriminating picture-goer sniff sus- 

How refreshing, therefore, to find that the picture 
overcomes this handicap and emerges as a fine and 
self-sufficient piece of screen art. Slightly less expert 
management combined with a little more lurid detail 
might well have brought out the melodramatic aspects 
of the story and have weakened the general impres- 
sion to the point where the picture could no longer 
be taken seriously. Burlesque is the nemesis ever 

threatening to overtake the vampire plot, screen 
vampires of the past having been what they have 

The success of the picture lies in the avoidance of 
that pitfall by making the lady in question both real 
and unreal until she finally becomes a symbol of 
sexual appeal rather than any particular had woman. 
Felicitas is a woman such as might well have been. 
She is believable. She is possessed of the beauty 
which must always make its primary appeal, and she 
has the refinement and culture which may allow her 
to maintain herself in her social sphere without being 
found out and exposed. The usual stage vampire is 
represented as being cruel and relentless, a strong 
and sadistic personality. The very perfection of her 
vices brings on a titter as one suddenly realizes that 
she is an automaton, a stuffed simulacrum not unlike 
the unbelievable giraffe which prompted the immortal 
remark "There ain't no such animal". 

Felicitas is not of this species. She is human and 
weak even though her weakness becomes a destructive 
force for the men who yield to her. When she falls 
in love with Leo Von Sellenthin, she does so without 
circumspection. When the intrigue is discovered by 
her husband, the military code of honor which held 
sway in Germany comes into operation and results 
in a duel in which the husband is killed. 

Thus far Felicitas is merely a woman who, pre- 
sumably no longer loving her husband, becomes pas- 
sionately enamored of another man, a situation from 
which the necessary consequences follow. But now 
she proceeds to interfere in another relationship in 
which the sanctity of a great friendship is involved. 
Leo receives an unofficial command to absent himself 
on colonial service for five years until the scandal of 
the fatal duel blows over. He leaves her in the care 
of Ulrich, his friend and boyhood chum. Again the 
same fatal enchantment ensues and Leo returns after 
four years only to find Ulrich married to Felicitas. 
He still loves her and she gradually breaks down his 
code of honorable aloofness which he tries to hold 
for the sake of Ulrich, who had been unaware of 
Leo's infatuation, until these two friends in turn are 
about to face each other in another deadly duel. 


National Board of Review Magazine 

But when the two men are confronted with the 
iStark issue of death, they find tluit their friendsliip 
lis a stronger and cleaner thing than the selfish pas- 
sions that have come between them. 

The success of such a picture, in these days when 
audiences have become more sophisticated about 
ladies of vampirish repute, depends, as wx have been 
at pains to point out, entirely upon the credibility of 
the lady in question. She must be "believable." And 
it must also be "believable" that men of standing 
should tall in love with her and not recognize her for 
what she is. The old hollow formula of "a fool there 
was" who was undone by "a rag, a bone and a hank 
of hair" has slowly yielded to character emphasis. 

The leading contributor to the success of Flesh 
and the Devil is Greta Garbo. This remarkable 
Swedish actress has, of course, been groomed for 
(this sort of role ever since her debut in America, as 
iher previous work in The Torrent and The Tempt- 
ress clearly shows. She is both physically and emo- 
tionally the seductive, appealing type. A very good 
indication of the changing values and emphasis in 
the vampire picture is brought home to us if we com- 
pare Miss Garbo with the most famous screen vamp 

of yesteryear, Theda Bara. Miss Bara, with her 
robust voluptuousness, her relentless eyes and en- 
icircling arms, was the accepted prototype of the lady 
who has made men uneasy, from St. Anthony to Rud- 
yard Kipling. Her appeal was nothing if not frank, 
and wise and sober men could be on their guard 
against her. Miss Garbo, in her later day imper- 
sonation, shows a frail physique and a fragile, 
etherial air. She is infinitely more civilized and all 
the more subtle for not being so deliberate. When 
'to these gifts of appearance and suggestion is added 
the real histrionic power of Miss Garbo, the memor- 
able impression which Flesh and the Devil is leaving 
upon contemporary audiences is already to a great 
extent explained. 

To her portrait of Elena — the fine lady, enshrined 
but emotionally struggling, of the first few reels of 
The Temptress — is thus added, in her Pelicitas, a 
fuller length, richer colored portrait that carries its 
truth to character clear to the end of the photoplay. 
.Miss Garbo's art is both instinctive and imaginative; 
it is therefore revealing and consistently right. 

The directorial skill of Clarence Brow-n, the cine- 
graphic slickness of the photography, and the care- 

^^^^^^^^^K^^^^^^~*'^^^^^H|tt,'' ]^^^H.Jl^^^^^^^^l 

Av.^ I%« ilk 4 '»i*^ 


Grita Garbo and John GiUt 

'FU-sli and the Deiii" 

Fehruarx . \ tneteen Tiventy-st'Xt'n 





jjipl ^^^ 


The DueUitii) Scene from "flesh tind the Dez'U" 

ful attention given to detail, do the rest. Great care 
lias been taken in the scenification of the whole pic- 
ture to create an atmosphere in which duels and a 
society whose social codes are tinged by a military 
regime, will seem natural. The picture begins in the 
military training school for officers in which Leo Von 
Sellenthin and Ulrich Von Kletzingk are students. 
We see them as part of that life and then follow them 
on their home vacation in the attractive German town 
where Leo is to meet the fatal Felicitas. It is all so 
enchantingly done, with not a little of the charm that 
recently endeared The JJ'allz Dream to .\merlcan au- 

Then follows the brief interval of happy, undis- 
turbed love with Leo youthfully abandoned in his first 
infatuation for a woman obviously so much experi- 
enced in love, no less enraptured because it is evident- 
ly not her first adventure. The sequence of the duel 
with the husband that follows is also managed in a 
less strident key than usual in such scenes and the 
actual duel itself, by being presented in a beautiful 
silhouette under a few tall romantic linden trees, loses 
its air of reality so that it is removed from our every- 

day criticism which has outlawed the duelling code 
from our everyday life. 

John Gilbert and Lars Hanson respectively play 
the parts of Leo and Ulrich. They succeed in sug- 
gesting their deep friendship and comradeliness with 
a rare combination of conviction and restraint. 

John Gilbert impersonates the romantic young Ger- 
man officer without ceasing to be the appealing type 
of American lover that he is, — or bothering to crop 
his iiair too short and to wear a monocle. He re- 
tains the air of boyish bewilderment in the midst of 
tlie maelstrom of passion tliat threatens to engulf 
him. It is pleasant to see that Mr. Gilbert continues 
to work hard in the interpretation of his part rather 
than resting upon his mere attractiveness as a male 
star with already an enviable record behind him. Lars 
Hanson is, of course, at home in his part and gives 
excellent support to all who play opposite him. 

(From the novel "The Vndyiny Past" by Her- 
mann SiiiJermann. .Idapted h\ Benjamin F. Glazer. 
Produced and dislrihiiled l>\ M elro-Golduyn- 
Mayer. ) 


The Night of Love 

Directed by George Fitzmnuricf 

„, , .III SCeorijc S. Evans 

t hrit'tOntt>lll-(l l>\ { ,„, ,- n 

I 1 nomas t. lirminitjan 
The Cast 

Montero Ronald Col man 

Princess Marie I'ilma Banky 

Duke de la Carda Montague Love 

Dame Beatriz Natalie Kingston 

Gypsy Bride Laska IF inter 

Gypsy Dancer Sally Rand 

Jester John George 

THE danger about throwing a literary story on 
on the screen is that some of it may stick to 
your fingers as literature without ever acquir- 
ing independent cinematic values. That puts the 
screen in the position of the clumsy after dinner ra- 
conteur who tells you that his story is excrutiatingly 
funny but that you may not get it altogether because 
lie cannot repeat it with tlie appropriate accent. The 
adapted story, in contrast to the original screen 
script, presents a problem of translation rather than 
of creation. Its literary effectiveness must be trans- 
lated into cinematic equivalents before a real picture 
can come into being. This is a wasteful'process. The 
reasons for still continuing to prefer so-called literary 
masterpieces to original screen stories are, of course, 
more economic than artistic. The announcement of 
a picture presentation of a popular story will bring 
in a certain percentage of the public by a simple pro- 
cess of association. But fortunately those good peo- 
ple who come to see their favorite reading matter in 
tabloid form are being cheated for their own artistic 
good. For the modern adapter, by the very im- 
periousness of cinematic art, has had to become crea- 
tive. He, too, works by the process of selection, omis- 
sion and emphasis, even if his labor is secondary to 
that of the creative artist working directly in his 
chosen medium. His labor is not ended until the 
demons of his nightmare have ceased to howl: "It 
may have been a good story but it is not a good pic- 

These remarks have been inspired in part by a 
repeated viewing of The Night of Love. This pic- 
ture represents another attempt to throw a literary 
legend upon the screen with all the auxiliaries of 
sumptuous detail, faitliful synchronism of historical 
setting, appropriate casting, atmospheric photog- 
raphy and sopliisticated directing. It creates a mood. 
To a considerable extent it uses cinematic means to 
make the spectator receptive to the legend which it 
seeks to tell. Tlie test of its screen appeal is the ex- 
tent to which it has been successful in doing tlils. 

For the original legend, which dealt with the cruel 
custom of medieval times according to which the lord 

Snliijiinl Board of Review Magazine 

of the manor could command the presence of the 
bride of any of his servitors on the wedding night, 
belongs to a past era. Its excellence was no greater 
than that of many other tales which liave lost their 
cogency with the advance of tlie centuries; it had 
never been immortal even as literature. The re- 
\ivifying process of cinematic innoculation was neces- 
sary to bring it to re-newed attention. That is exactly 
what a good screen adaptation must accomplish. 

In this picture version the action is often swift and 
dramatic, changing from a romantic, poetic mood to 
sudden confrontation of death and reality. The first 
love idyl between Montero (Ronald Colman) and ' 
his gypsy bride is charmingly portrayed. The gypsy 
marriage ceremonial, in its exquisite natural setting, 
creates the mood of the legend and makes an ar- 
tistic contrast to the justified vengeance which the 
gypsy hero wreaks upon the Duke de la Garda after 
his bride has been snatched away and has committed 
suicide to prevent her ravishment. Now a complicated 
sequence of swift action follows in which the gypsy 
hero in turn kidnaps the Duke's foreign princess 
bride (Vilma Banky) only to fall under her love 
spell with the consequent frustration of his revenge 
motive. Here the picture acquires a universal sig- 
nificance by showing the blindness of revenge and the 
healing power of a great love. 

llie story of The Night Of Love is, of course, ro- 
mantic, and anyone who refuses to yield to its spell 
can cut down the frail and beautiful flowers of its 
imaginings with the sharp scythe of realism. But 
tew people bring their scythes with them when they 
go to see a motion picture. The fact remains that the 
picture version of the story has made it interesting 
to millions whereas the original Spanish legend upon 
which it is based would fall flat if published to-day. 
Therein lies the justification of having chosen this 
story for the screen. 

A notable cast greatly enhances the appeal of the 
picture. Vilmy Banky never ceases to be pictorial, 
with all her opulent beauty ever showing to advan- 
tage. She sheds a profusion of regal splendors and 
shows her histrionic competence whenever her role 
allows her to do any real acting. Ronald Colman is 
a good romantic screen lover who avoids the pitfalls 
of overacting and as usual provides an excellent oppo- 
site to Vilma Banky. The acting of Natalie Kingston 
as Dame Biatriz, the mistress of the Duke (Mon- 
tague Love), also deserves mention. The double ex- 
posures in the picture are technically flaw'ess and the 
scene where the gypsy band storms the castle, with 
their giant shadows showing against the wall of the 
great staircase, as well as some of the exterior shots 
of the castle, are vivid bits of dramatic photography. 

(Based on a Spanish poem hy Pedro Calveron de 
la Barca. Screen version by Leonore Coffee. Pro- 
duced hy Sdiniird Cxildzvyn. Distribitled hy United 


Niiiflii-ri Tlienty-seven 


( i/Mia Hanky As Princess Mam- in i nr \ti/iu ,■/ l.o 


National Board of Rt-view Magazine 

Rose Bernd 

Directed by Carl Froeliili 

PItotoyraphed by Theodore Sparkuhl 

The Cast 

Bernd U'erner Krauss 

Rose, his daughter Henny Porten 

Marthel. her sister Rieijmohr Terstaf 

Christopher Flamm Alexander fVirth 

Mrs. Flamm llta Gnitning 

Kurt, their son Martin Herzher// 

Arthur Streckmann Emil Jannings 

August Keill t'aul Bildt 

The spinster Elsie Zachow Valentin 


r^ the third ex- 
ceptional picture 
brought to the notice ot 
our readers through the 
I'',xceptional Photoplays 
Committees's special re- 
search work. This is 
also a German film — 
the screen adaptation 
of G e r h a r t Haupt- 
mann's tragic play. 
Rose Bernd picturizes a 
story closely following 
the original, done bold- 
ly, as it should be, with 
no condescension to 
the censors. While its 
cinematic qualities are 

pronounced, there is no juggling with the camera 
and its exceptionality as a film lies mainly in the 
superb acting shadowed on the screen — the acting 
of the entire cast in ensemble, giving an effect of 
unfailing realism to be likened only to that achieved 
by the Moscow Art Theatre players — and in a com- 
plete capturing of the rural scene, the rude, earthy 
country village life of 
Central Europe. 

The story is far from 
pleasant, and very far 
from the average story 
adapted to the screen. 
This stark brutal tale 
of a girl, too soon as- 
sured that "There is 
nothin' but sorrow and 
licart's need on this 
earth" — of a nature 
torn by the passions of 
two lovers and by the 
pressing, selfish will of 
a father who would pro- 
vide for his penurious 
old age by marrying 

Rose to still a thin! man for whom she can feel noth- 
ing but pity and a kind of tender contempt — is pat- 
terned only to an audience that can contemplate on its 
screen the picturization of events encircling human be- 
ings with woe and at the same time not feel that it has 
been robbed at the box office. It is a picture tricked 
out with no moral other than that which the spectator 
may perceive is implied by the fate of its characters, 
and by the forces leading to that fate. It is also a pic- 
ture — thus moving with implicit truth — in which cir- 
cumstances develop out of the nature of the charac- 
ters, and in which one may feel blind impulses welling 
from their springs of animal need and instinct. The 
picture, like the play, is social in whatever message it 

has to give. It sincerely 
picturizes one of those 
Hauptmannesque, social 
tiramatizations that be- 
long to that order of 
his work of which Mr. 
Ludwig Lewisohn says 
in his introduction to 
Volume II of the Amer- 
ican edition of the Ger- 
man playwright's dra- 
mas, "The silent burden 
of these plays, the 
ceaseless implication of 
their fables, is the in- 
justice and inhumanity 
of the social order." 

Heading the cast are 
Henny Porten, Emil 
Jannings and Werner Krauss. Principal honors go to 
Henny Porten. Hers is Hauptmann's Rose, the pea- 
sant creature, strong, stubborn, loving, stirring up the 
mrde desire — the primitive child who is doomed by 
nature and temperament to come to no good end in 
the hands of enflamed men. Emil Jannings some- 
what brutalizes and parodies Streckmann, but it is a 

virile,, bawdy and con- 
vincing character he 
presents. It stands out 
with this fine actor's 
best work. Werner 
Krauss as old Bernd 
stays well within the 
lines of his part. 

Rose Rernd is a film 
suitable for the uses of 
the small special thea- 
tre dedicated to the 
showing of the unusual 
and serious photoplay 
to the special audience. 
{From the novel by 
G e r hart Haiiptmann. 
Distributed by I'.F.A.) 

February, \iiietefn Twenty-seven 


The Third Better Films Conference 

LAST year it was stated, in descriliing the aim arul 
opportunity ot the Second Better Fihns Con- 
ference : "The time is past when the motion 
picture may be regarded by intelligent people — as it 
has never been regarded by the great masses — as an 
object for suspicion, abuse, contempt or neglect; when 
it can be accused of being a clumsy imitation 
instead of a distinct form of expression having its 
own technique and powers and possibilities beyond 
the reach of any other medium." 

It is the purpose of the Third Better Films Con- 
ference, witli its general topic "The Motion Picture, 
Its Broadening Influence and Uses," to indicate con- 
cretely just what the screen's powers and possibilities 
are. and how far they have already been developed. 
To illustrate such development appears to be sin- 
gularly appropriate at this time for the furtherance 
of the Better Films movement, as understood by 
the National Board of Review and its Better 
F'ilms National Council. From information thus 
afforded to the delegates of the various commun- 
ity groups interested in the movement, a more com- 
prehensive knowledge of the tools with wiiich they 
may work — and, it is hoped, some instruction in their 
use — should follow, resulting in the building up of the 
whole idea in an ever sounder manner, with increasing 
craftsman-like attention to details. 

"the motion picture, its broadening influence 

AND uses" 

WHAT are these? 
First, the influence of the motion picture is 
reaching today not only into the lives of an increasing 
number of people, but increasingly into the work of 
many kinds of people interested vocationally and 
avocationally in many kinds of things. That is to say. 
it is reaching beyond those who seek merely enter- 
tainment in the theatre. While the photodrama is 
working toward a greater power and proficiency, ar- 

tistically, technically and tlicmatically. the medium it- 
self, as a machine, so to speak, is finding a new lield 
of operation in educational, scientific, social better- 
ment, religious and industrial directions. It is thus 
exerting a growing influence, which will be tre- 
mendous in our society of tomorrow, upon, and find- 
ing a greater use by, teachers of all kinds, scientists in 
all branches, ministers of all denominations, and di- 
rectors of great industries, in pursuit of their own 
activities ami professions. 

Second, it follows that its uses to the public will 
be proportionately increased. These uses, even now, 
the \\hole civic life has abundantly at its command for 
both practical and experimental purposes. Thus tiie 
Better Films movement has ceased to be an activity 
extended primarily in one direction, namely, the field 
of entertainment and tiie problems there to be found. 
The Better Films movement has now to entertain the 
question as to how it can best forward the march of 
the motion picture toward till its beneficial uses by 

It is seen today tiiat the moral equation in the mat- 
ter of motion pictures is no more important than 
many other equations; that guidance toward a fine 
public taste in pictures as entertainment must go 
hand in hand with guidance toward a fine public 
use of pictures as utilitarian instruments — as tlyna- 
mos furnishing power to the educational, civic, re- 
ligious, commercial and scientific research plants of 
society the world over. 

The program of the Third Annual Better Films 
Conference has therefore been built with the thought 
of throwing light on this greater influence and use of 
the motion picture medium so that constructive 
thought may be formulated for the expanding leader- 
ship required. Motion Pictures will be used for the 
first time in a Conference of this kind as actual illus- 
tration, and the many new fields open to motion pic- 
ture uses will be indicated or described by speakers 
who themselves represent these fields. 

Program Thursday, January 27 

A. M. — Pre-view of unreleased pictures with the 
Review Committees of the National Board of Re- 
view, meeting in various projection rooms, in order 
to acquaint the Conference members with the 
Board's review work. 

Afternoon Session 

"The Motion Picture, Its Broadening Influence." 
2:00 P. M. — Opening Address. Dr. William B. 
Tower, Chairman of the National Board of Re- 
view and of the Better Films National Council, 
presiding officer of the Conference. 

2:10 P. M. — The Economic and Social Influence of 
the Motion Picture. Dr. Francis D. Tyson, 
Professor of Economics, University of Pittsburgh. 

2:40 P. M. — Psychological Factors in the Response 
to Motion Pictures. Professor Harold E. 
Jones, Department of Psychology, Columbia Uni- 
v^ersity. New York. 

.^:10 P. M. — The influence of the Motion Picture 
on the Family and on the Home. MisS LouiSE 
Connolly, Educational Expert, Newark, N. T-. 
Free Library and Museum. 

(Continued on page 22) 

National Board of Review Magazine 

(Continued from page 5) 
do not know, you have shown a new 
way to go in motion picture art. 
When I was in this country five 
years ago, with a picture of prison life, I 
went to Sing Sing and spent twelve hours 
there and showed it to the prisoners and 
thev liked it. If the people in the picture 
houses should not like my new picture, 1 
can at least show it in Sing Sing." 

"The Future of the Exceptional Photo- 
play" — a symposium of this topic held the 
attention of over three hundred guests 
assemhied for the eighth Annual Luncheon 
of the Board, Fehruary 23, 192.3. 

Mr. Clarence A. Perry, chairman, pre- 
sided, introducing as the first speaker, Dr. 
Everett Dean Martin, who had hrought 
such worth while comment at an earlier 
luncheon that he was again in demand. 

Mr. Walter Prichard Eaton, essayist, 
in his talk which followed, asserted "If 
any progress is to be made in motion pic- 
tures, it must be made by those who 
know nothing about them, for the reason 
that those now in the motion picture busi- 
ness do not seem able to do anything to 
improve them. Progress in the spoken 
drama has come from the Little Theatres 
and outside movements. Progress in the 
motion picture can come only from small 
movements such as those. The lesson to 
be drawn is this, the hope of the motion 
picture lies not in the big expensive pro- 
ductions made to appeal to the present 
heterogeneous audiences; but there must 
be found a way to produce, cheaply, the 
exceptional picture, which will gradually 
infiltrate through the whole industry." 

The dramatic critic of the Globe, 
Kenneth MacGowan, figured that the 
motion picture, to meet the expense of its 
production and marketing, requires an 
audience one hundred times as large as 
that of the spoken drama and that, con- 
sequently, a more average sort of audience 
must be appealed to and the picture must 
have a mediocre quality. Notwithstand- 
ing this, there is a kind of art which is 
real art yet has its appeal to a huge 
audience. The problem is to find the more 
limited audience which would not only 
support this kind of a picture but the 
artistic picture of more limited appeal. 

Ferdinand Pinney Earle, art director, 
contributed a note of hope for the inex- 
pensive production of artistic films when 
he referred to "the new technique" which 
enables the producer, for a few dollars, to 
obtain effects which under the old methods 
of elaborate settings could not be obtained 
for less than a fortune. 

Richard Walton TuUy, author and pro- 
ducer, believed that when really great art 
appears in the motion picture it will be 
appreciated not only by the few but by the 
many. He thought that the helping hands 
of the National Board of Review and of 
special audiences arc needed, to encourage 
artistic attempts, before this greater art 
comes into being. 

Clayton Hamilton, literary critic, agreed 
with the preceding speakers as to the need 
for smaller and better audiences if we 
are to have better pictures of an excep- 

tional variety. The audiences exist but are 
scattered; the problem is, how to organize 
the audiences so as to get the pictures to 

From the discussion emerged the follow- 
ing conclusions: 

1. It is hardly worth while to speculate 
on the uliat of the exceptional photoplay 
of the future before discovering the how 
of the exceptional photoplay. 

2. The /(ou' of the exceptional photo- 
play involves the problems of — 

a. Production — less expensive methods 
by artists working independently of com- 
panies catering to the average audience, 
where the product is standardized. 

b. Distribution — the creation and 
financing of a distributing organization for 
the new product. 

c. I'.xiiibition — the discoverey and link- 
ing together of exhibitors willing to show 
these pictures; the infusion into the ranks 
of exhibitors, of more exhibitors with the 
new ideals. 

d. I'atronagt — the discovery of the 
people In a community who are interested 
in these pictures, and the amalgamation of 
these potential audiences in support of these 

On the afternoon of Saturday, February 
16th, 1924, an atmosphere of expectation 
pervaded the ballroom of the Waldorf- 
Astoria, for here were assembled in the 
neighborhood of four hundred members 
and friends of the National Board of 
Review — all interested in the motion pic- 
ture not merely as fans but primarily as 
public spirited citizens who had come to 
gather ideas which might be productive 
of actual results, in the discussion of the 
subject, "The Motion Picture and the 
Public." These included our active mem- 
bers in New York City, a number from 
out-of-town, executive officers of the film 
Industry and representatives of many social 
and welfare organizations. Dr. William 
B. Tower, chairman of the National 
Board, presided and introduced the 

High spots of their addresses were: 

Fannie Hurst, novelist — "The greatest 
points of weakness in the picture situa- 
tion today lie . . . in the creative author 
. . . and in the great American public 
. . . We are practically guilty of selling 
drugs to minors in playing down to a low 
average of intellect. . . .The only solu- 
tion lies with organizations of this kind — 
the National Board of Review — who 
through a selective process are willing to 
help the public raise its standards of 

Robert Edmond Jones, well known scenic 
artist — "A motion picture when it seems 
good seems like thought itself. This 
medium is to date by far the closest ap- 
proach to our own thinking." 

Svend Gade, Danish director — "The 
American film at its best is better than 
the European film. ... To my mind the 
story should always be the foundation of 
all good films." 

Joseph Dannenberg, editor Film Daily — 
"What a peculiar public! If you want to 
eternally damn a motion picture to the 

public, use the word "educational . . .1 
haven't yet found out anything uniform 
about this public." 

Dr. Chester C. Marshall, First Method- 
ist Church, Bridgeport, Conn. — "The man 
who can can give us a picture that will 
cause us to lose ourselves for an hour 
amid the busy rush of life has been an 
inestimable benefactor of the human race." 

Krnrst L. Crandall, president \'isual 
Instruction Association of America — "I 
am not sure I would not accept the judg- 
ment of a movie fan as to the effect of 
motion pictures upon children, just as 
quickly as I would the judgment of a 
teacher or of a child psychologist . . . The 
motion picture is experience ... it is life 
itself . . . We should place the motion 
picture as a subject of study in the cur- 
riculum of higher education. . ." 

Orion Winford, National Councilor U. 
S. Chambers of Commerce — "I have gone 
out and made stump speeches to get people 
to tie up with this national headquarters 

Every one is intensely interested 

and it takes but a very little time before 
you can get a group who will form a 
better films committee." 

Each year the luncheons had grown in 
Interest and attendance, bringing more 
people from far and wide so that the year 
1925 witnessed a necessary development 
in the program afforded to the guests of 
the National Board. A Better Films 
Conference was inaugurated as a forum 
for the exchange of ideas on the part of 
those interested in better films. This con- 
ference demonstrated the feasibility and 
desirability of a yearly Better Films Con- 
ference along contructive lines, conducted 
in a spirit of intelligent sympathy with 
the motion picture and those who are 
furnishing it to the public. 

The first day of the Conference, Thurs- 
day, Jan. 15th, w-as a day of interesting 
visits. In the forenoon the delegates met 
at the Waldorf whence they were con- 
veyed to various projection rooms for re- 
view meetings of the National Board of 
Review. Pictures were submitted in the 
usual course prior to release and the 
regular committees of the National Board 
discussed and passed upon them. In the 
afternoon the delegates visited the Famous 
Players studio in Long Island City. This 
day's program was of value in enlarging 
the delegates' background for the Confer- 
ence, giving them a first hand acquaintance 
with the workings of the National Board 
and an insight into the complexity and 
methods of motion picture production. 

Dr. William B. Tower, chairman of the 
National Board and of the National Com- 
mittee, was the presiding officer of the 

.Mrs. Harry Lilly spoke from her ex- 
periences as Motion Picture Chairman of 
the General Federation of Women's Clubs 
from 1922 to 1924. She was followed by 
Miss Ruth Rich, organizer of the Jack- 
sonville Better Films Committee and State 
Better Films chairman of the D. A. R. in 
Florida. Miss Rich's subject was, "Prob- 
lems in Better Films Organization and 
Conduct." After an interesting talk by 

February, \inetieii Twenty-Sfven 


Col. Jason S. Joy the Confrrcnce ad- 
journed for an intornial luncheon. 

The afternoon projiram was devoted 
chiefly to the description by Mrs. Harriet 
Hawley Locher of her work with the 
Crandall Theatres in \Vashinj;ton since it 
had such a large bcarinj; on her topic, 
"The Special Family Performance and 
Children's Matinee Proj^ram;" and to the 
presentation by Prof. Bowman, of Colum- 
bia, of the -Motion Picture Study Club 
Plan for Community Encourajjement of 
the best in screen art and entertainment. 

Following an opportunity for discussion, 
Mrs. Henry Cole Quinby presented a 
resolution advocating the adoption of the 
plan as the basis for national better films 

Following the adoption of the fore-going 
resolution. Miss Rich presented and moved 
the adoption of a resolution opposing legal 
censorship of motion pictures. 

The passing of this resolution is signifi- 
cant as reflecting the conviction of those 
present who had been active in the Better 
Films Movement, that it is only by the 
constructive methods of the Better Films 
Movement rather than by a legalized 
censorship that true progress can be 
brought about. The resolution itself 
was the subject of many favorable com- 
ments on the part of the speakers at the 
Annual Luncheon of the National Board 
the following day. 

The tenth Annual Luncheon was the 
culminating event of this conference, it 
was held in the Waldorf Astoria Janu- 
ary 17th, with over five hundred guests 
present. The subject — " The Motion Pic- 
ture Today and Tomorrow." The speak- 
ers included such interesting people as Dr. 
James J. Walsh, professor of Physiological 
Psychology at Cathedral College. He 
spoke in inimitable fashion saying, among 
other things, "I am sorry to say I don't 
attend moving pictures very often although 
I see some interesting things in moving 
pictures. I have wondered why there was 
so much disturbance with regard to cen- 
sorship. One reason I suppose is that 
there is a great deal of money in it and 
we like to hold on to people and hold 
them back if they are making a great deal 

of money People go to the moving 

pictures because they want their feelings 
touched and they get them touched, either 
in a good direction or the wrong direction." 

"There is no question but that there 
must be certain regulation of things. Who 
would have said twenty years ago that a 
policeman would stand on the corner and 
regulate traffic. Censorship is likely to be 
abused. Here is the question: I know 
pictures are getting better. There are 
friends near me who tell me more and 
more about it. But I think that with good 
will, we are going to have pictures that 
mean a great deal more in the feelings of 
mankind and that is the hope we have." 

A foremost director, Mr. William C. 
deMille was the next speaker; he said, "I 
find the American public is essentially 
decent. I find that the decent picture 
pays better than the indecent, that the 
artstic picture pays better than the inartis- 

tic. 1 am not one of those who think the 
definition of art is anything the public 
fails to appreciate. Neither is the defini- 
tion of what is not art, anything that the 
public likes. The best art pays the best 
on the screen and if you will tell your 
audience that we are trying to serve them, 
and if they will go and see the good 
pictures, you will be helping us. They 
should have some power of selection. 
Most of the public of the United States 
go to the picture house without an idea 
of what they are going to see." 

Mr. Joseph Dannenberg again this year 
brought some Interesting comment from 
liii wide knowledge of motion pictures. 

"Life's" motion picture critic, Robert K. 
Sherwood, made salient points as a critic; 
he said, "I do want to make one plea to 
you and that is not to get too excited about 
the word 'art'. Don't think about it so 
much and don't talk about It so much be- 
cause art that is conscious Is not art at 
all. In the case of motion pictures, you 
can make art synonymous for honesty. 
That is the quality in movies that has 
made them stupid, ignorant and dull — 
absolute dishonesty of the producers, con- 
tinuity writers, the actors and the sales- 
men It seems to me the whole 

salvation of pictures lies in the develop- 
ment of the original story which is written 
directly for the screen. It comes to the 
screen firsthand. It is not damaged goods 
after it gets there. Now, necessarily, 
the screen has to devote itself to inferior 
plays and inferior novels written by 
authors who have nothing but the screen 
rights in mind. ... If we can get writers 
who will talk in terms of motion pictures, 
Wi'io will express themselves directly on the 
screen, we shall have much better pictures 
and you people who are one of the few 
connecting links between the motion picture 
industry so called and the motion picture 
audience itself, can impress the people who 
make motion pictures with the importance 
of this fact." 

"Roxy" as he is best known to radio 
fans, otherwise, Mr. Samuel Rothafel of 
the Capitol Theatre, then greeted the 
audience with his familiar, "Hello Every- 
body, " and followed it with a few of his 
opinions, as a server of the public tastes, 
on audiences and pictures. "I am optimis- 
tic. I want to see the picture of tomorrow. 
I want to see the picture of tomorrow 
done. I want to see the scenes longer. I 
want to see development of the pan- 
tomimic art. I want to see intelligence 
displayed, ability to put on the screen what 
is really in the story. When they make 
that story live, you are going to see great 
improvement. People Want good pictures. 
They don't want indecent, salacious 
pictures. I know. I have an audience 
e\ery Sunday night of over seven million 
and I get thirty thousand letters a week 
and, my friends, I know that the people 

wint decent things I hope the 

picture of tomorrow «lll Have those In- 
gredients that will satisfy the greatest 
number of people." 

Mr. M. J. O'Toole, President of the 
Motion Picture Theatre Owners of 

America, directed a few rapier like re- 
marks at censorship; for example, "When 
you begin censoring a great big instrument 
of expression, it becomes dangerous and is 
opposed to the Constitution of the United 
States and opposed to the American idea 
of good Government. . . . There are cer- 
tain principles to which the censors of 
motion pictures seem to adhere, some of 
which seem to be basically wrong. One 
of these seems to be the denial that the 
motion picture screen is an element of ex- 
pression and part of publicity and hence 
the screen press. I believe this underlying 
thought on the part of our censorship 
hoards is an error and that we can with 
reasonable assurance agree that the motion 
picture screen is part of the press. ... I 
hope this one thought, that censorship is 
dangerous from a liberty point of view, 
will rest with you." 

.Mr. Wheeler, as conductor of model 
photoplay community theatres, at Rye and 
New Canaan, Conn., spoke strongly for 
community cooperation, but not until he 
had suggested a "seventh inning" stretch 
to the audience. 

Mr. Christopher Morley, the well known 
author and critic, then delighted everyone 
with his words of wit and wisdom. As 
for pictures, he said, "All I can say is 
that the movies ought to be amusing. They 
ought to be entertaining, they ought to be 
enchanting. If they entertain you and 
arnuse you, then for heaven's sake don't 
worry about them." 

The procession of luncheons now brought 
us to the "New Day in Motion Pictures," 
the subject treated at the 1926 Annual 
Luncheon on January 30th, again held at 
the Waldorf Astoria. The first Better 
Films Conference had proven such a suc- 
cess that a second one was held in con- 
junction with the Luncheon this year. A 
far larger representation of delegates was 
present and a very full and effective 
program had been prepared for them, in- 
cluding such subjects as "The Motion 
Picture and the School, the Church, the 
Library, " ably presented by Professor 
Irving N. Countryman, School of Educa- 
tion, Yale University; the Rev. George 
Reld Andrews, Chairman, Committee on 
Educational and Religious Drama, Federal 
Council of the Churches of Christ in 
America; Miss Louise Connolly, Educa- 
tional Expert, Newark, .N. J., Free Public 
Library and Museum. 

Col. Jason S. Joy, Executive Secretary, 
Public Relations Department, Motion 
Picture Producers and Distributors of 
America, Inc., presented "The Cooperative 
Idea for Producer, Exhibitor, and Public." 

Miss Regge Doran, Director of Public 
Relations. Pathe Exchange, Inc., enter- 
tained the audience with a narrative of ex- 
perience as to "How an Individual Film 
Company Reaches the Public Through 
Cooperative Methods." 

The Executive Director of the Inter- 
Theatre Arts, Miss Kate Ogleby, gave a 
very interesting talk im "The Exhibition 
of the Artistic Photoplay by Commercial 
Guilds or Private Groups, as a Means of 



National Board of Review Magazine 

Drawing Fresh Interest to Motion Pic- 

"The Churili ami the Little Photoplay 
Theatre" was dismissed hy Rev. Charles 
Stanley Jones, of Biddetord, .Maine. 

Saturday morninf; was devoted to, "The 
Technical Prohlem in Commercial Motion 
Picture Production Considered in Con- 
nection with Developing the Finest Type 
ot Motion Pictures," hy Mr. Ralph Hloch, 
Supervising Editor, Kamous Players-Lasky 

The Resolutions Committee then pre- 
sented its report. Resolutions against 
legal censorship passed at the previous 
year's Conference were reaflirmcd. 

Twelve thirty, January 30th, found the 
stage set for the Board's greatest Luncheon 
of all time. Such an array of screen cele- 
brities never before had been assembled 
at an affair outside the industry. The cele- 
brities introduced were: 

Miss Mae Murray, who spoke a few 
words of appreciation to the audience for 
their praise of her recent picture. The 
Merry Widow . Miss Lois Wilson, Mr. 
Monte Blue, Miss Norma Shearer, Miss 
Dorothy Gish, Miss Aileen Pringle, ^Ir. 
johnny Hines, Mr. Robert Flaherty. Miss 
Helen Klumpf, Miss Dorothy ^Llckaill. 
Miss Sada Cowen, Mrs. Pearl Keating, 
Miss Edna Murphy, Mr. Elmer Clifton, 
and Mr. Milton Sills, who arrived in 
costume from the studio and produced 
quite a thrill in the audience by his novel 
introduction. In spite of a strenuous fight 
with a dog in his morning's picture making, 
he had breath saved for a message to the 
gathering; he said. "Some years ago two 
speakers, political speakers, were extolling 
the relative merits of their respective 
candidates. One of them, whose candi- 
date was Mr. Brown, arose and said, 
'Gentlemen, you all know my candidate. 
Mr. Brown. \'ou know his rise. You 
know that he started out as a poor boy 
and that he ultimately became a great 
captain of industry. My candidate. Mr. 
Brown, is a self-made man." 

"The rival political speaker rose, 
thought for a moment, and finally pointed 
to his candidate: 'Here's Mr. Smith. Mr. 
Smith is not a self-made man. God made 
.Mr. Smith, and there is as much difference 
between the men as between their makers.' 

"The motion picture indusry is a self- 
made man, let us say in his middle 
twenties, not quite all made, and it is our 
business to think how to make him a fine, 
cultured, and artistic individual. It seems 
to me that to this end we must bring 
more background to the motion picture 

profession The time has come for 

us to make this industry not only self- 
made, but God-made in the sense of some- 
thing more beautiful than what we have, 
and when that time comes, we can be 
proud of our work. Whereas Greece 
gave us sculpture, Italy painting, France 
architecture, German music, and England 
poetry, perhaps America can give to the 
world a new art, the art of the screen. " 

Prominent among the speakers was Mr. 
Jesse Lasky, Vice-President and produc- 
tion head of the Famous Plavers-Laskv 

Corporation, who spoke, for the producers, 
of their hopes and their problems. He 
said, "This is a very timely, maybe almost 
an historical gathering. I am rather in- 
clined to tell you of our problems and 
troubles so that you may underst;ind us. 
and leave it to you to go forth and help 
make nearer and still nearer the new 
day. . . . We are are a new, young in- 
dustry and dependent for more than half, 
probably three-fourths of our material, on 
the spokern stage, on the novel, current 

fiction Another thing, the public 

must support, must learn to distinguish, 
the original story written for the screen 
as against the adaption of a play or novel. 
When that time comes, I assure you you 
will get better motion pictures. Slowly 
but surely young men and young women 
capable and able are beginning to write 
directly for the screen and that is a real 
hope for the future. 

"As long as we have to depend on the 
stage and on the novelist and on the 
dramatist, you are not going to get a fine. 
big, true expression from the screen, but 
when the author can write boldly and 
fairly for the screen, then you are going 
to get the real motion picture of the 

Another production man followed, Mr. 
John C. Flynn, V'ice-President of the Pro- 
ducers Distributing Corporation. He eulo- 
gized the National Board in these words: "I 
want to say a word of deep thanks and 
appreciation to the National Board of Re- 
view for what it has done for the business 
in the last twelve years. 

"One of my first experiences was to 
come in contact with the Board of Review, 
showing the pictures as they came from 
California. I have since then had a great 
deal of experience with legalized censor- 
ship, with the Boards in New York, Penn- 
sylvania, Ohio, Kansas, and one or two 
other states. Never in my experience have 
I ever heard anything but a suggestion 
which was practicable and applicable to 
the condition made by the National Board 
of Review. They have always, when they 
have made suggestion, made it in terms 
that were possible to accomplish. I ven- 
ture to say that outside of the business and 
the people in it, there has been no in- 
fluence in America which has ever been 
crystallized for the entertainment and 
amusement business so great as your Na- 
tional Board of Review and its influence 
is felt and appreciated daily by those in 
the business." 

"Motion Pictures and Crime" as a sub- 
ject was entertainingly treated by Dr. 
(jeorge W. Kirchwey, famous criminolo- 
gist. Some of the high lights were, "The 
most popular indoor sport at the 
present time is that of guessing at the 
causes that produce crime and inventing 
magical formulae for dealing with them. 
In getting its share of the blame for the 
crime wave, the moving picture is only 
paying the penalty of its enormous popu- 
larity. It is a shining mark. No one has 
attempted to show in what way the movie 
promotes banditry and bootlegging and the 
wide-spread contempt for law, but, as 

everybody goes to the movie, it is only too 
easy to see that the picture show is the 
guilty party. . . . Only the other day I 
was quoted as say that I didn't know how- 
to make the world safe for morons. But 
1 take it back. I do. Suppress every- 
thing, the motor car — think of the motor 
car — the telephone — think of the conversa- 
tions that take place over the telephone — 
the radio — think of the stuff we hear over 
the radio — the theatre — the motion picture 
— all modern books worth reading — the 
Natural History Museum — and, of course, 
the Bible. ... To the one side, the world 
is a drill ground with the drill-sergeant 
everlastingly in control; to the other, the 
world is the field of experience, in which 
the winning of character through self- 
discipline is the great achievement. To the 
former of these, the moving picture, with 
its varied interpretations of life, is a con- 
stant menace. To the latter, the moving 
picture is a new opportunity for the liber- 
ation of generous emotions for the better 
understanding of life. Like all the aids 
to a fuller life, literature, art, music, 
religion, the movie has its defects. But 
these it is overcoming, and as it grows in 
grace, it will grow also in the strength of 
its appeal and in its service to the great 

Dr. A. A. Brill, psychoanalyst, then 
analyzed the mind of the censor and re- 
fonner, and no doubt any censorious people 
who heard him would immediately want 
to reform themselves. 

Mr. Harold Rockett was represented by 
a paper written in answer to an article 
in Colliers by William Allen White. 

Mr. Horace D. .Ashton, a Fellow of the 
Royal Geographic Society, spoke from his 
wide experiences with the motion picture 

We now come to 1927, the Twelfth 
Annual Luncheon and the Third Better 
Films Conference, which have brought to- 
gether an outstanding array of brilliant 
speakers who will enlighten and entertain 
with their thoughts upon the topic of the 
day, "The Motion Picture, Its Broadening 
Influence and Uses." A larger group than 
any assembled in previous years has gath- 
ered for both the Luncheon and the Con- 
ference. The Luncheon promises to be one 
of exceptional merit with such speakers 
on the program as Christopher Morley. 
the novelist and critic, author of "Beyond 
the Blue", "Thunder on the Left",^ 
"Pleased to Meet You", and many other 
books; Herbert Brenon, director of 
"Peter Pan" and other notable motion 
pictures; Dr. W'illiam Norman Guthrie, 
widely known Rector of St. Mark's-in- 
the-Bouwerie; Professor John Erskine. 
author of "Helen of Troy" and "Gala- 
had"; and Victor Shapiro, Director of 
Publicity. United Artists Corporation. 

The Better Films Conference has almost 
an overwhelming list of subjects, present- 
ing from every angle the influence and 
use of the motion picture. Thus another 
step forward has been taken, and another 
stone in the consolidation of the work of 
the National Board and its Better Films 
National Council put into place. 

February, Nineteen Tiventy-seven 


Selected Pictures Guide 

Reviciv Committee 

Consists of approxi- 
mately 250 trained 
iiienibcrs representa- 
tive of widely varied 
interests who volun- 
teer their services for 
the review of pictures. 

A department devoted to the best popular entertainment and program films. 
Each picture is retnaced by a committee composed of members from the Re-wv 
Committee personnel. Thfir choice of the pictures listed is based upon principles 
of selection developed through long study of jvhat couslilutcs a good picture from 
the standpoint of entertainnuni z\ilue. The findings form a composite opinion of 
each committee's views ami upon this opinion are based the short rei'ieios and audi- 
ence recommendations of the pictures appearing in this department. These rcvieivs 
seek to bring to the reader an ujibiased judgment of the pictures most ivorlhy of 
popular tlwalre patronage and most helpful in 'irogram building for special shoii/ings 
of selected entertainment films. 


Department Staff 

Alfked B. Kutthek 
Frances C. llAKntiT 



Key to Audience Suitability 

General audience (composed principal- 
ly of adults). Pictures primarily inter- 
esting to adults — but pictures not ordinar- 
ily recommended tor boys and girls may 
be included in the list it the presentation 
is not objectionable for them. 

Family audience including young peo- 
ple. Pictures acceptable to adults and 
also interesting to and wholesome for boys 
and girls of High School age. 

Fajnily audience including children. 
Pictures acceptable to adults and also in- 
teresting to and wholesome for boys and 
girls of grammar school age. 

Mature audience. Pictures recom- 
mended for the consideration and enjoy- 
ment of adults. 

Note: — Programs for Junior Matinees 
should be selected from pictures in the 
family audience classification. 

* — Pictures especially interesting or well 
done but not necessarily "exceptional." 

"Johnny Get Your Hair Cut" 

i Archie Mayho 
Directed by jg ^^^^,^^ ^^^,,„ 

Featuring Jackie Coogan 

Original screen story by Gerald Beaumont 

JACKIE COOGAN makes a welcome 
J and successful return to the screen as 
a stable boy in a well told story of the 
race track, in which he acts well and un- 
affectedly, ittle Frank O'Day considers 
himself an excellent judge of horseflesh 
and is anxious to show what he can do, 
but his youthful appearance is against him. 
He trails along with the rest of the jockeys 
at Mother Slap's boarding house and 
makes friends with the owner of an un- 
likely mare, suffering from a strained ten- 
don. At the last moment he gets a chance 
to be a real jockey under the colors of a 
rich stable owner whose little daughter 
he has pulled out of a pond. The mare 
with the strained tendon comes around in 
good shape under the handling of its new 
featherweight jockey who rides to victory 
in a gruelling race despite the foul tactics 
of a rival jockey. The story has many 
natural, human touches which will endear 
it to all lovers of children. And Jackie 
gets a real haircut too, for, of course, as a 
jockey he cannot afiford to look like a sissy! 
For the family audience including chil- 

(Metro-Goldwyn — 7 reels) 

*The Kid Brother 

Directed by Ted Wilde 

Featuring Harold Lloyd 

Original screen story 
T^HE Hlckorys, father and three sons, 
■'■ live in Hickory ville. The father is 
the sheriff and the two older sons are big 
husky men. The younger brother Harold 
is considered by them a poor weakling. 
When a medicine troupe comes to Hick- 
oryville, they mistake Harold for the sheriff 
and get him to sign a permit. Medicine 
troupes have been denied the town and so 
Harold's father runs them out of town. 
'Fhe girl belonging to the troupe is be- 
friended by Harold. Later the money 
for the new dam given by the townspeople 
and entrusted to the sheriff, is missing and 
the sheriff accused. Harold redeems him- 
self in the eyes of his father and brothers 
when he captures the thieves in a novel 
way, and returns the money for the dam. 

The story is Interesting and full of 
Harold Lloyd's clever tricks. 

For the family audience including chil- 


(Paramount — 8 reels) 

The Last Trail 

Directed by Lewis Seller 

Featuring Tom Mix 

Novel by Zane Grey 
'"POM MIX and his horse as usual 
prove quite entertaining. This time 
they do it in very humorous and thrilling 
fashion, in a story which does not take 
the suppression of banditry too seriously. 
The climax of the picture is built around 
a stage coach race which is full of action 
and dramatically photographed. 

For the family audience including 

(Fox — 6 reels) 

McFadden's Flats 

Directed by Richard IVallace 

r. ■ {(Charlie Murray 

teaturtng ,/., , ^ ,,- 

' [l^nester (.onKlin 

Play by G us Hill 

A COMEDY drama of the lower f^ast 

side. McFadden. a contractor, and 

McTavish, a barber, are life long friends. 

.McFadden builds some flats, but before 

they are finished the bank calls his notes. 

McTavish, unbeknownst to McFadden, 

goes to the bank and puts up money for 

the loan. The flats are finished and the 
McFaddens move in, and at once they are 
too good for the McTavishs. McFadden's 
daughter is sent to a finishing school; she 
returns and not only "high hats" her 
family but also young McTavish who 
is in love with her. In the end the daughter 
realizes that her new found friends are 
not worth the sacrifice of the love of her 
family and sweetheart, also McFadden 
learns what his old friend McTavish has 
done for him and so their friendship is 
cemented and the young people are happy. 
A good clean comedy. 

For the family audience including chil- 

(First National — 8 reels) 

New York 

Directed by Luther Reed 

/,• , [Ricardo Cortez 

leatunng ] . 

[Lois If lis on 

Original screen story by Barbara Chambers 

and Becky Gardiner 

D OMANCE of an east-side gang lead- 
■'■^ er and a west-side society girl. A 
square-thinking young leader of a gang, 
also leader of an orchestra in a dance hall 
on the lower east-side, is inspired by a 
wealthy young girl who visits the dance 
hall with some of her friends, and becomes 
famous through his popular song hits. 
Though fame brings him wealth and posi- 
tion he remains true to his less fortunate 
friends and becomes involved in the mys- 
terious murder of a girl in his rooms. He 
is accused of the crime and tried, but 
through the efforts of his gang, the mys- 
tery is cleared up and the criminal is 
brought to justice. All through his trial 
the wealthy girl has stood by him and 
when he is released they are reunited. 

tor the family audience including young 

(Paramount — 7 reels) 

*The Potters 

Directed by Fred Newmeyer 

Featuring W. C. Field 

Play by J. P. McEvoy 

A N interesting story with clever sub- 
■'»■ titles, all about the troubles Mr. 
Potter has with his "hard boiled" family. 
He invests his life savings in oil, and then, 
discovering that the oil wells are fake, he 
sells his stock, all but one, which he has 


National Board of Review Magazine 

handed over to his daughter in a generous 
moment. Later his daughter elopes with 
a man her father disapproves of, and in a 
haughty moment she gives him back the 
oil stock. Of course that particular stock 
is good, so everything ends happily for 
poor Mr. Potter. A good clean comedy. 
For the family audience including chil- 

(Paramount — 7 reels) 

Wandering Girls 

Directed by Ralph I nee 

r- , [Robert Agnew 

^'"'"'■■"9 \ Mildred Harris 

Original screen story by Dorothy Hoivell 

DRAMA of an old fashioned father and 
a rebellious daughter. In trying to 
keep his daughter safe from the vices of 
this jazz-mad age, the father causes her 
to run away to the city. There, she is 
framed by a professional dancer and his 
partner and sent to jail. The dancer 
has her released and takes her as his 
new dancing partner. His former partner, 
in a fit of jealous rage, shoots the man and 
when she is caught she confesses that she 
and the dancer had framed the other girl. 
The girl goes home where she is reunited 
with her family and her sweetheart. 
For the family including young people. 
(Columbia — 6 reels) 

Winners of the Wilderness 

Directed by Jl' ■ S. J'andyke 

Featuring Tim McCoy 

Original screen story by John T. Neville 

A SPIRITED romance of pre-revolu- 
■'*■ tionary days with the French and In- 
dian Wars of the Colonies as a back- 
ground. The advance of General Brad- 
dock against Fort Uuquesne and his defeat 
at the hands of the Indians after he had 
ignored Washington's advice to reconnoitre 
with his scouts before advancing in solid 
formation, are shown. The hero of the 
story steals the plans of Fort Duquesne 
under the very nose of the French com- 
mander with whose beautiful daughter he 
falls in love. He returns to see her again 
and again at the imminent risk of his life, 
and has many perilous escapes both from 
the French soldiers and their Indian allies. 
There are a number of excellent battle 
scenes and a final blaze of color photo- 
graphy which sets off the brilliant uniforms 
of the colonial troops. Mr. McCoy in the 
part of the hero acquits himself well as a 
soldier, lover, and acrobat. 

For the family audience including chil- 

( Metro-Goldwyn — 7 reels) 

Wolf's Clothing 

Directed by Roy Del Ruth 

/.> , \ Monte nine 

teaturing .' n , ,, ,, 

{Patsy Ruth Miller 

Serial in Cosmopolitan Magazine by 
Arthur Somers Roche 

A YOUNG man, from the West, who 
■'*• has been in New York City three 
years as subway guard, finally gets a night 

off. New Year's Eve after the subway 
rush, the young man starts gaily out for his 
first night on Broadway. He is hit by 
an automobile and strange and wonderful 
things happen to him. Though he finally 
comes to in a hospital, he is compensated 
for the loss of his first night off since com- 
ing to the city, by finding that the girl 
who has flitted in and out of his uncon- 
cious mind all night is sitting by his bed, 
white capped and looking very smart in 
her nurse's uniform. 

The picture is interesting and the twist 
at the end is unexpected. 

For the general audience. 
(Warner — 8 reels) 


Crowd Bait 

(Sportlight Series) 

Interesting study of the various types of 
crowds which follow different sports. 

For the family audience including chil- 
dren. (Pathe — 1 reel) 

My Lady's Stockings 

Showing how silk stockings are made 
and worn. 

For the family audience including young 
people. (Fox — I reel) 

*Pathe Review No. 6 

Camera Interviews with American 
Painters — Helen Winslow Durkee, minia- 
ture painter; Nature's Teacup, Crater 
Lake in Oregon; Changking, the Un- 
known City. 

For the family audience including chil- 
dren. (Pathe — 1 reel) 

Pathe Review No. 7 
A Bouncing Business, rubbering in the 
Philippines; Harrogate, the principal 
watering place in Northern England; 
Squeezing for Safety, U. S. Bureau of 
Standards work. 

For the family audience including chil- 
dren. (Pathe — I reel) 

*Pathe Review No. 8 
Fighting Fashions, as seen at a Japanese 
Festival; The Bulwarks of Havana, an- 
cient fortifications protecting Cuba's Capi- 
tal ; The Somersault Slicker, Robert 
Coleman, nine year old acrobat. 

For the family audience including chil- 
dren. (Pathe — I reel) 


Should Men Walk Home? 
Featuring Mabel Normand 

Amusing farce of a lady crook who 
holds up another crook after she asks 
him for a ride. They then go after some 
priceless jewels but find crime too much 
bother and worry so that they decide to 
go straight. 

For the family audience including chil- 

(Pathe — 2 reels) 

(Continued from page 17) 
3 :40 P. M.—The Influence of the Artistic 
Motion Picture. Mrs. Robert J. 
Flaherty. She accompanied Mr. Fla- 
herty to the South Sea Islands when he 
filmed "Moana," and to Alaska for the 
filming of "Nanook of the North." 
4:00 P. M.— Reports: 

(Community Cooperation. Mrs. JameS 
A. Craig, State Chairman, D. A. R. 
Better Films Committee, Florida; and 
president of the Jacksonville Better 
Films Committee. 

Special Programs for Special Occasions. 
Mrs. PiERCY Chestney, President of 
the Better Films Committee, Macon, 

Family Programs. Mrs. H. G. Grover, 
President of the Better Films Commit- 
tee, Rutherford, New Jersey. 
Special Children's Programs. Mrs. 
R. C. Heflebower, Chairman, Motion 
Picture Committee, Ohio Federation of 
Women's Clubs, Cincinnati. 
Question Period. 

EvExiNC Session 

8:00 P. M.—The History of the Motion 
Picture. Mr. Terry Ramsave, author 
of "A Million and One Nights," the 
screen's biography. 

8:40 P. M.— Thirty Years of Motion Pic- 
tures — composite film illustrating the 
progressive growth of the motion pic- 
ture. It is a complete panoramic and 
encyclopedic film from the beginning of 
picture making to the present date. As- 
sembled for the National Board of Re- 
view, for the purposes of this special 
showing, by the National Cash Register 
Company of Dayton, Ohio, Mr. Otto 
Nelson, through the courtesy and with 
the cooperation of the many companies 
and individuals. 

Morning Session 

"The Motion Picture as an Entertain- 
ment Medium." 

10 A. M. — Address. Ex-GovERNOR Carl 
E. Milliken, Secretary, Motion Pic- 
ture Producers and Distributors of 
America, Inc. 

i0:20 A. M.—The Motion Picture and 
the Theatre, "What Does the Public 
Want:'" Mr. Frederick Wynne- 
Jones, President, U. F. A. Films, Inc. 

10:40 A. M.—The Special Picture for the 
Special Audience, "If hat a Part of the 
Public Will Take." Mr. Eric T. 
Clarke^ General Manager, Eastman 
Theatre, Rochester, New York. 

1 1 :00 A. M. — Developments in Motion 
Picture Production, Exploitation, and 
Distribution. Mr. How.'\rd Dietz, 
Director of Publicity and Advertising, 
Metro-Goldwyn-.Mayer Pictures Corp. 

1 1 :20 A. M. — The Community Theater. 
Mr. Harry D. Wescott, Director of 
Public Service and Education, Stanley 
Company of America, Philadelphia, Pa. 

11:35 A. M.—The Amateur Cinema 
Cameraman. CoL. RoY W. WiNTON, 
Managing Director, Amateur Cinema 
League, Hartford, Connecticut. 
Question Period. 

[Continued on page 23) 

February, Nini'lfi'i Tu<iil\-siti 


Better Films Activities 

Editor. Ri 111 Rich 

' < LJOW We Get Better Movies in Our 

^ '^ Town" contest prize winners have 
been announced in this contest conducted 
by the CJood Citizenship Bureau of the 
Woman's Home Companion. Mrs. J. F. 
Keane, ot Portland, Oregon, won the first 

Mrs. James A. Craig, president, Jack- 
sonville (Florida) Better Films Committee 
and member of the Better Film National 
Council, was awarded the second prize. 
Special prizes were won by Mrs. R. Ray- 
mond, of Madera, California, and Mrs. 
W. \V'. Griggs, of Bern, Kansas. The 
prize winning letters were printed in the 
January issue of the Woman's Home 

The value — one might say the necessity 
— of community cooperation is emphasized 
bv Mrs. .Anna Steese Richardson, editor 
of this department of the Woman's Home 
Companion in the following excerpts from 
her announcement of the awards which 
precedes the winning replies in the con- 
test : — 

"Cities and towns in nearly forty states 
were represented by entries in the contest 
and these letters prove beyond doubt 
that in each case the community is not 
only getting a higher grade of motion pic- 
ture in local theaters but is also building 
up a new spirit of cooperation in recrea- 
tion and a finer appreciation of motion pic- 
tures as an art. 

"And these letters proved something 
more — that in every case where results 
had been secured, the work was done not 
by one or two individuals or one organi- 
zation but by the cooperation of many local 
associations. Better films are to be had. 
but only by community cooperation and 

wife of the director of "Moana" 
and "Nanook of the North" has been 
named vice-president of the Norwalk Bet- 
ter Films Committee, Connecticut. 

T-HE work of the Y. M. C. A. Motion 
■*■ Picture Bureau was explained in an 
interesting manner by Mr. Fredericks at a 
recent meeting of the Better Films Com- 
mittee of Rutherford, New Jersey. 

Of especial interest are the following 
facts from Mr. Frederick's talk: 

"The introduction into this country in 
1912 of some short Pathe Films showing 
some French industries, created a demand 
for pictures showing what American work- 
ers did and how they did it. 

"Today, in the short space of fourteen 
years, the two film exchanges of the 
Y. M. C. A. are furnishing about 70,000 
reels per year to more than a thousand 
users, and last year the showings of these 
pictures were attended by over six and a 
half million people!" 

THE Cleveland Cin?ma Club, of which 
Mrs. R. I'". Moyer is president, is 
studying the I-ittlc Photopl.iy Theatre 
movement. Miss Bertelle Lyttle had charge 
of the program at a recent meeting when 
the Motion Picture as an Art was pre- 
sented. The Club has evinced much inter- 
est in the progress of the Little Photoplay 
Theater idea, and is considering taking 
steps to secure some special showings in 

THE Macon, Georgia, Better Films 
Committee, which has been conducting 
Junior matinees with marked success for 
several years, plans appropriate programs 
for special dates in every month. 'Ihe 
week before Thanksgiving contributions 
were made at the matinee toward the din- 
ner baskets which were distributed to the 
poor of the city. Of course, this commit- 
tee observed Christmas appropriately, and 
is now planning to have suitable programs 
on various historic dates during the next 
month or two. 

MRS. F. W. CLARK, of Albany, New 
York, introduces many interesting 
features in her advertising plans for the 
Junior programs. When "One Minute to 
Play" was presented, she announced 
through the press that every boy with red 
hair would be admitted free. The exact 
number of youngsters viewing the picture 
as guests is not reported, but it is safe to 
surmise that a goodly number of boys, 
proud of hair the color of Red Grange's, 
attended that matinee. 

T^HE Atlanta Better Films Committee, 
'^ which has been sponsoring Junior 
matinees for about six years, reports in- 
creasing interest on the part of the par- 
ents as well as the children. The attend- 
ance is satisfactory, and interest on the 
part of adults increasing. 

THE Better Films Committee of Colum- 
bis. South Carolina and the theater 
manager entertained the members of the 
football team of the Columbia High School 
in December. The picture was the Quar- 
terback, a most appropriate selection for 
the occasion, and a special section of seats 
reserved for the players were decorated 
in the school colors. 


HE .Mothers' Clubs of Sanford. Flor- 
ida, have appointed a Better Films 
Committee to work in cooperation with 
other groups in the city. The Mothers' 
Clubs are particularly interested in spe- 
cial programs for children, and while they 
are centering their attention on this de- 
partment, other groups will cooperate in 
bringing to the finer pictures the support 
of the discriminating adults of Sanford. 

chairman of Better Films for the 
1). .\. R. of Ohio, is arranging for the 
showing of the Chronicles of America 
series, issued by the Yale University Press, 
in various cities in Ohio as a part of the 
patriotic program of this organization. 

{(^ontinuftl from page 22) 
Afternoon Session 
"The Motion Picture in Cultural, Educa- 
tional and Religious Fields." 
2:00 P. M. — The Clubwoman and the 
Motion Picture. Mrs. Anna Steese 
RiCH.ARDSOK, Director, Good Citizen- 
ship Bureau, Woman's Home Com- 

2 :20 P. M. — The Minister and the Motion 

Picture. Rev. Ch.'vrles C. Webber, 
Pastor, 'Fhe Church of All Nations, 
New \'ork City. 
2:40 P. M.— The Teacher and the Motion 
Picture. Professor Leroy E. Bowman, 
Department of Social Science, Columbia 
University, and Secretary, National 
Community Centre Association. 

3 :00 P. \l.—The Museum and the Library 

and the Motion Picture. Mr. HugeR 
Elliott, Director of Education, Metro- 
politan Museum of Art. 
3:20 P. M.—The Motion Picture in 
Visual Education. Dr. G. Clyde 
Fisher, Curator of Visual Instruction, 
American Museum of Natural History. 
Question Period. 

"The Motion Picture for Specialized 

9:30 A. AL — Address. Elizabeth Sears, 
Editorial Staff, American Magazine; 
former Publicity Director American 
Film Co.; Editor 'Tilm Fun", 1915-17. 
This address will be illustrated with 
motion pictures, adaptable to use in 
connection with the following subjects 
— Health, Agriculture, Civics, Thrift, 
Home Economics, Religion, Safety and 
Art. The films are available through 
the courtesy of the Y. M. C. A. Mo- 
tion Picture Bureau; U. S. Depart- 
ment of Agriculture: Edited Pictures 
System ; East New York Savings 
Bank; New York Edison Co.; Re- 
ligious Motion Picture Foundation; 
Rothacker Industrial Films; Metro- 
politan Museum of Art. 
Address — The Motion Picture in Indus- 
trial Education, Mr. G. Lynn Sum- 
ner, President of the G. Lynn Sum- 
ner Advertising Company, formerly 
with the International Correspondence 
School. Illustrated by a motion 
Report of the Resolutions Committee. 








The National Board of Review of Motion Pictures 

Through its BETTER FILMS National Council and Department 

composed of 

Associate and cooperating members and Affiliated Better Films 
Committees throughout the country, is — 

PJ^ NCOURAGING a study of the motion picture as a medium of 
entertainment, instruction and artistic expression. 

"D RINGING to tlie attention of the public the better pictures, 
classified according to their type-of-audience (age and group) 
suitability, and cooperating with the exhibitors in encouraging 
support of the finer pictures. 

jT^MPHASIZING the fact that the majority of motion pictures 
^^ are not made for children, but that the motion picture is a form 
of entertainment directed at its fullest expression toward mature 
audiences, and must be encouraged as such if its highest artistic, 
entertainment and educational possibilities are to be realized. But 
also recognizing the fact that certain films are definitely suitable 
for boys and girls, and sponsoring selected programs for Junior 

"ESTABLISHING in the minds of the public the fact that the 
only fair and effective way of bringing public opinion to aid 
socially in the entertainment, artistic and educational development 
of motion pictures is through the constructive methods of the 
Better Films movement — namely, selection and classification, and 
enlisting community support of the better pictures. 






(Combining " 

Vol. II, No. 3 

Exceprional Photoplays," "Film Progress" and "Monthly Photoplay ( 


March, 1927 



The March of the Movies 


Irony of Censorship [( 

Special Audience Pictures //\ 

\ The Museum and /W 
\\ Motion Pictures // 




20 cents a copy 

Publislied monthly by the 

Board of Review of Motion Pictures 

Established by The People's Institute in 1909 ci nn 

■^ ' 52.00 a Near 

70 Fifth Avenue, New York, N. Y. 

What the Critics Think 


Thirty Years of Motion Pictures 


The March of the Movies 

The film compilation Thirty Years of Motion I'icturcs forms 
one of the most comprehensive and educational collection ever 

It would be a splendid thing to take through the country tor 
demonstration purposes, and a single showing of such a collection 
would do more to give the general public the right angle on the 
pictures than could be conveyed in a dozen books. The Board 
of Review has done something important; handicapped as tt was 
by conditions. The picture could be carried on to greater com- 
pleteness and made generally available. — Moving Picture World. 

Thirty Years of Motion Pictures is the title of a pictorial pre- 
sentation by the National Board of Review. This interesting 
screen record not only deals with news events from the time of 
President McKinley's inauguration to recent happenings, but is 
also concerned with the educational angle of pictures and the 
screen as an aid in surgery. Portions of this production are 
devoted to natural color scenes, to United States Army Flying 
"shots." to slow-motion photography, to screen advertising and 
to miniatures employed m feature films. Old pictorial efforts 
such as The Kiss and The Great Train Robbery are incorporated 
in this story of the screen. 

This series of pictorial scenes, compiled so studiously, merits 
being exhibited for a period in some theatre — Xew York Times. 

The National Board of Review presented The March of the 
Mozies, a film history of the development of the industry over a 
period of the last 30 years, at Carnegie Hall, February 2Sth. 

The conglomeration of film bits, both production and news, 
as well as early pictures lasted for almost three hours. The 
first part alone ran for an hour and twenty-five minutes and was 
by far the most interesting portion from the standpoint of lay 
members of the audience. 

The second half showed the advance made along educational 
and scientific lines with the motion picture as the first aid. 

Not a bad idea for representative exhibitors to get together in 
the larger cities and take one of their smaller houses and play 
this picture for a run, just as a general business stimulant and 
for cumulative publicity that all would get out of it. — Variety. 

The National Board of Review of Motion Pictures, which 
happens to be the principal and most important of those many 
organizations advocating bigger and better movies, is at present 
engrossed in the task of preserving cinema history in its film 
Thirty Years of Motion Pictures. Practically every movie pro- 
ducer active in the business, as well as many men who were 
prominent figures in the early days of the industry, have pledged 
their co-operation in contributing to the picture. 

Officials of the board let us know that this is the initial step 
toward building a comprehensive history of the moving picture. — 
New York News. 

Under the auspices of the National Board of Review, a 
synopsis of the Thirty-year life of motion pictures was presented 
on the screen. Once again President McKinley was inaugurated, 
and the immortal "Teddy" wielded his verbal "Big Stick" in 
emphatic fashion. That earliest epic, The Great Train Robbery, 
was offered in comparison to Ola Ironsides and others. There 
was some laughter, out there was much more amazement. Truly, 
the progress of the pictures is little less startling than the progress 
made in the theatres which show them. The Great Train Robbery 
and Carl Laemmle's "White (Front, " "Picture Palace" in Chicago. 
bear small resemblance to the great pictures of today and the 
real palaces that excite the admiration of visitors from all over 
the world. — Nczc York Telegraph. 

One of the amusing features of the Thirty Years o4 Motion 
Pictures film was the first motion picture view of Theodore 
Roosevelt, taken in those good old days when the movies were 
even younger than they now arc. Those who saw the film 
discovered that the energetic T. R., then Secretary of the Navy. 
was too fast for the film and camera of that day as he bustled 
briskly across the field of vision. The result was a jerky film. 

A truly surprising exhibit in this compilation was a series of 
flying films illustrating fighting planes m acrobatic evolutions. 
These were loaned by the Engineering Division of the Army, 
and reveal remarkable technical skill plus daring on the part of 
the photographers. 

Again I'd like to recommend this film for public exhibition. — 
Xctc York World. 

The National Board has future 

plans for The March of the 

Movies, see page 3 



March iqiy 

'J"he -March of the Movies 3 

The Irony of Censorship 

John Erskine 4 

The Tumult and the Shouting Dies 6 

The Special Feature for the Special Audience 

Eric T. Clarke 1 

The Museum and the Motion Picture 

Huger Elliott 9 

Exceptional Photoplays 

Stark Love 10 

The Music Master ■..■ ■. 12 

The Yankee Clipper 13 

Selected Pictures Guide 14 

The Beloved Ropue 
Casey at the Bat 
Heaven on Earth 
Les Miseiables 
"XeTlt Rain 
The Love Thrill 


The Magic Gardea_ 

The ^Tonkey Talks 


The Mysterious Ridec— 

Ridin' Rowdv 

Non-Feature Subjects 

The Barefoot Boy 
Everybody's Servant 
Fisherman's Luck 
From Caves to Sky 

The Good Samaritan 
The Isle of June 
The Joys of Camping 
Pathe Review No. 9 
Pathe Review No. 10 
Pathc Review No. 11 
Pathe Review No. 12 

Pathe Review No. 13 
Pathe Review No. 14 
Portugal Today 
The Prodigal Son 
The Ranger 
The Rival Sex 
Wells of the Holv Land 
The Wise Old Owl 
With Will Rigers in Dublin 
With Will Rogers in Hol- 
With Will Rogers in Paris 

Short Comedies 

Birthday Greetings 
Sailor Beware 
Smith's Ponv 

Ten Years Old 
^'oung Hollywood 
Youth and Beaut\' 

Saint Patrick's Day Pictures 16 

Book Reviews 17 

Better Films Activities; Conference 18 

Copyright 1927, The National Board of Review of Motion Pictures 

National Board of Review Magazine 

Tr. \\ lll.lAM I'.. 'I"o\VER, Cttairniil'i 
llR. MVROX T. ^CIDBER, I rtasurcr 


Edward A. Muree 

\\ allrr \V. IVllit 

Mrs. Miriam Sutro Price 

Dr. Myron T. Scudder 

Dr. Albert T. Sliicls 

Dr. William B. Tower 

George J . Zchrung 

Tu l-ilth .\vcinic, New \'iirls City 
Fublishcd Moiitlilv 

-^ TAi r 


Executive Secretary 
kirii Rich 

AlI'KI:!) B. Kl'TtNF.R 

I-'ka.mesC. Barrett 
Bettina Gumciy 

Volume II. Xuniher 3 

March. \')27 

20c a co]5y, $2.00 a year 

The March of the Movies 

TH1-! showing of Tliirly Ytiirs of Motion I'li- 
titrcs at Carnegie Hall on February twenty- 
eighth is now a matter of history. It was an 
ambitious effort, a task undertaken witli many han- 
dicaps but born of a vital idea which will carry on 
into the future. 

Proper credit for launching this product belongs 
to Mr. Otto Nelson, member of the Society of Mo- 
tion Picture Engineers. Mr. Nelson had begun on his 
own initiative, as head of the projection department 
of the National Cash Register Company of Dayton, 
Ohio, to collect a rough history of the motion picture 
which was to be a pictorial record ot the invention 
of motion pictures about thirty years ago and of their 
progress as an art over tliat same period. 

When the National Board heard of what Mr. 
Nelson was doing, we proposed an enlargement ot 
the scope of his work by supplying him with lurthcr 
materia! which we were in a position to procure 
through the courtesy of the various film companies. 
Through the cooperation of Mr. Nelson's company, 
his valuable time was made available for the purpose 
of putting together the initial, tentative assemblage. 

This first assemblage was shown to members, dele- 
gates and invited guests at the Waldorf-Astoria Ho- 
tel on the occasion of our Third Annual Motion Pic- 
ture Conference. The success of this showing untler 
unfavorable projection and seating conditions was 
so great ami the demand of newspaper critics, edi- 
torial writers of motion picture magazines, and mem- 
bers of the industry itself, to bring the assemblage to 
the attention of a wider audience, became so insistent, 
that a second showing was decided upon. 

Before doing this, however, it was decided to re- 
edit and re-title the picture and to perfect both its 
historical accuracy and the range of its artistic, 
scientific, and educational achievements. The com- 
panies again responded splendidly to our request tor 
further contributions so that our final credit title in- 
cluded practically the entire industry. Mr. Terry 
Ramsave, author of "A Million and One Nights" 
and an authority on motion pictures, also became in- 

terested in the eilucational value of the project and 
gave invaluable ciiitorial and technical assistance. 

In this perfected and enlarged form, running close 
to sixteen reels, the picture was repeated at Carnegie 
! lall. This showing was given in the form of a 
benefit for tiie purpose of beginning a tuiul to de- 
fray the expenses of assembling the picture and keep- 
ing it in being for the future. The companies and 
their individual employees responded loyally and the 
showing further benefited from the cooperation ot 
tile Motion Picture Producers and Distributors ol 
America, Inc.. Will H. Hays, President. 

Such is the present status of Tliirly Years of Mo- 
litjit Pictures, or as it is to be called from now on, 
Tlir March of the Movies. Nothing like it has ever 
been attempted before. Here for the first time it is 
possible to obtain a graphic survey of an art which 
has come into being and attained maturity within our 
generation, certainly the most vital and the most 
popular art of today. Much of the material gath- 
ered together here was snatchetl from oblivion just 
in time, for the record of this art is perishable and 
easily lost to ready access In widely separated treas- 
ure houses. Many ot the original negatives have 
already been lost and a number ot the worn and brit- 
tle prints will have to be replaced immediately if the 
picture is to be shown again any considerable num- 
ber of times. The present indications are that the 
companies, realizing the historical \'alue of this as- 
semblage, will permanently contribute their film for 
future siiowings for educational purposes. 

1 he Board hopes to be able to undertake such 
showings and at the same time further to perfect 
the present assemblage, in a way, that task has only 
been begun. At present the picture is little more 
than a correctly articulated skeleton waiting to be 
divided into sections each one of which remains to 
be filled out in perfect detail until the whole becomes 
a living monument of motion picture achie\ement. 
The more it approaches that form, the more valu- 
able it will be for the special showings such as we 
have in mind which will stimulate a more general ap- 
preciation of motion |)ictures as a whole. 


National Board of Rei'ieic Magazine 

The Irony of Censorship 


Professor Erskine delhcrcd this address before the 
Tzi-elflli .huitial Luncheon of the Naiionai. Board 
<>i" Rkvikw held recently in JS eii- York City. — Em- 
tor's Note. 

ClA'SORSHIP has always been an earnest 
endeavor on the part of good people to mend 
the world and it has always been a subject 
of some ridicule and comedy from the point of view 
of the genuine artist and the entirely healthy people 
who don't feel that they need to be cared for. No 
matter what formula you invent tor it, censorship 
is sure to fail and sure to do harm. At the same 
time 1 fully recognize that there are problems which 
suggest to some of us the method of censorship as a 
cure. These problems don't terrify me any more 
than life in general does, but I think they invite study 
and a great deal more knowledge than the world 
possesses at present, and far more good taste than 
those who are disposed to be censors will ever have. 

If I were picking out a single irony of censorship 
in a very respectable part of the past, I would remind 
you that wiien John Milton wanted to print "Para- 
dise Lost" — which is so good few people read it — 
the censor held it up for an interminable time until 
it could be thoroughly studied for the possibility 
of evil in it. We know who did the studying — the 
Reverend Thomas Tompkins, not known to you per- 
iiaps, an earnest gentleman of the Seventeenth Cen- 
tury who wrote books himself. When I contemplate 
the Reverend Thomas Tompkins missing the chance 
of finding something in "Paradise Lost" that would 
be indecent or revolutionary from his point of view, 
I realize why his most famous book is called "The 
Incon\'enience of Toleration". But, without citing 
historical instances of these ironies, 1 will point out 
to you what T am sure you have thought of before, 
but what will give me pleasure to say again, — the 
irony in the idea that censorship is supposed tu he 
for the good of literature, or the good of the audi- 
ence, or the good of somebodv. 

The essence of all censorship, as you notice the 
rnf)ment you look at it, is that it undertakes to empha- 
size whatever is bad and lays absolutely no emphasis 
on anything that is good. The moment it begins 
to pay any attention to what is good, we don't call 
it censorship, we begin to call it criticism. 

The censor who warns me against a plav excites 
my interest in it, however good T am, ami he must 
ha\e developed an extraordinary interest in it him- 
self before he set out to advertise it. 

.\t the present moment manv good people in New 

^'ork City say that there are plays on tlie boards 
which should be suppressed. They seem to have 
attended them. Since they are such earnest, moral 
people, they must be hopelessly in the habit of going 
on first nights before they can learn what the play Is 
about. Their innocence can be explained in no other 
way. The average citizen who reads the newspapers 
knows perfectly well what a play is about when he 
goes to Jt, or, in general, the subject of a book when 
he reads it, and if he is at all in danger, he ought 
to stay away; he ought not to ask the state to pro- 
tect him. 

In Moliere's "Tartuffe", Tartuffe meets one of 
the maids in the hall. He is given to censorship and 
asks the maid to please raise somehow the neck of 
her gown because the area of her person exposed 
disturbs him. I am sure you remember the answer 
of the astonished and indignant girl — I am afraid 
a vulgar answer, which would be expurgated if it 
were not written by him. She said the sight of his 
entire person all at once would produce no damag- 
ing effect on her. 

I look on the psychological effect of any censorship 
very much as I look on the obsolete methods of teach- 
ing writing which prevailed in some parts of the 
country when I first began teaching. The freshman 
and the sophomore were furnished with volumes of 
bad }''nglish to correct, awkward sentences which 
they hail to straighten out, and, having meditated for 
hours on incorrect sentences, it was almost impossible 
tor them to write a good one. It was as though 
we said to them, "We will show you all that is wrong, 
and God help you to find out tiie correct way to 

Now what we have before us in art, as we all 
kiow, is the total bodv of impulses of human action 
demanding expression. If we are perfectlv honest 
anil sincere, we know that almost every subject which 
any censor would try to suppress, is of some interest 
to the best of us. The problem is to find out how to 
organize our natural impulses in this world, not to 
crush them, but to direct them to good ends and in 
;irt I still think the good end is one of beauty and 
intellectual clarification. 

Any art wiiich illd not end in an increase of beauty 
:uni an increase of knowledge of life for the com- 
munity which enjoys it, would seem to me a rather 
poor art. Lor that reason, as a reatler of old books. 
I would undertake, I think, to find in the great master- 
pieces instances of any subject whate\er, on the 
Broadway stage todav, and the difference between 
tlic masterpiece and the play on Broadway. I think. 

A'larch, Nineteen 1 iienly-seven 

is an aesthetic interest. It is a iiiattcr of art. 

1 can't help agreeing with a dear trieml ol mine, 
a woman of exquisite taste and culture, who once said 
in my hearinjj; ttiat any suhject which (ioil Almit^htN 
P'.'rmits to ha[)|ien in hie, to recur constantly, can he 
dealt with by a tjentleman. 

But 1 think there is such a thini^ as ilccorum in 
art, a purely aesthetic matter. I here are some tilings 
whicii 1 should prefer to see tione in sculpture rather 
than in literature. 1 would rather see the human 
body painted than described inch by inc!:. 1 think 
t!iat Walt Whitman made a mistake in aesthetics, 
not in morals, when he began with the top of the 
ladv's head and went down to her toes, telhng me 
she had the usual number ot teeth, and so forth, 
:;nd was beautiful. The inventory seems accurate, 
hut the effect is not one of beauty. 

.\ much older poet, not often associatetl with 
Walt Whitman, l-.iimutui Spenser, of the "I-aerie 
Queene" did the same thing with the same good 
i7ioti\e and with the same bad success. 

Painting can do certain things and sculpture can 
do certain things which words cannot do. But these 
i're questions for the artist ami are not to be settled 
dogmatically and won't be for ages, because the artist 
in no one of these cases has developed all the pos- 
sibilities of his art and we are not yet wise enough 
to determine what can or what cannot be clone there. 
But you can't stop the human race from trying to tell 
whatever it percei\es of beauty ami truth. 

.My next point against censorship is not a logical 
result of these remarks, but I should like to include 
it here. Censorship also seems to me a singularly 
childish attempt on the part of a well-meaning society 
to dam up the ocean. I am going to be protected for 
two hours, when I go to the theatre, against the 
subjects which really interest me. I should like to 
see how you can make any impression on me that 
way. 1 will find the subjects elsewhere. I oughtn't 
to see nudity on the stage. V'ery well, then, close 
the doors of the Metropolitan \Iuseum against me 
too. Suppress all the art. I oughtn't to be inter- 
ested in sex. Very well, I'd like to see you stop our 
interest in that. Vou know I am telling the truth 
tliere. We all know it. 

Censorship will cease to be ridiculous if it can ilo 
t!ie impossible, if it can timl a way to teach us all 
what is good art, how to create it, and how to enjoy 
it. When we learn that, we shall have reached the 
millenium. How many artists in a century, with all 
the striving toward good art, does any nation pro- 
duce? All the artists are doing their best, struggling 
against the handicaps of our mind and our poor 
speech and our poor human nature, in the service of 
our great dreams, and then somebody who couldn't 
paint a picture or write a line, interrupts them in the 
middle of their task anti says, "\aughty. naughty, 
you mustn't try that." 

When you stand in front of tlie "Last Judgment", 
painted by Michelangelo in the chapel there and see 

what the succeeding I'ope got a succeeding artist to 
do. putting bathing suits and discreet douils over 
those naked figures and spoiling the picture, and when 
\ou realize how that marvelous man had made the 
human body a form of expression for the soul, so that 
il the bathing suits weren't there, you would see 
nothing but soul — if you consider that that happened 
to him in Italy, the home of art, the home of the 
understanding ot the human spirit in the world of 
beauty, we needn't be surprised at what may happen 
to us in this country. But 1 think every intelligent 
person who is sincere ought to tlemaml of art that 
all we really care for in the realm of the spirit sliouKl 
get expressed and get expresseil right. What we 
can do, as an audience, is to hack up any expression 
that seems to us to represent progress in art. 

The people who worry about the theatre really 
don't attetui it or go only to be sure it is wrong 
and they don't read the great novels that are beyond 
reproach. They look up those that perhaps ought 
never to have been printed and they know them all. 
and some of the rest of us who learn to take our 
art and life a little more naturally, and I think a 
little more cleanly, are surprised to finil something 
we have liked is very, very bad, anti perhaps the 
kind friend who points that out may spoil the story 
or the play for us forever. But, even when it is 
pointed out as bad, those of us who have read other 
books can't help remembering the same plot, the 
same situation, the same interest, in all the classics, 
in all the sacred scriptures of the world, and in the 
face of the insincerity to which censorship sooner or 
later leads you, the kiml of insincerity which says the 
Bible is all right, but the same subjects anil interests 
lecognized nowadays are all wrong, in the face of 
that kind of impudence we say: No Censorship at all, 
but a sense of responsibility for the audience toward 
the things which they believe in. 

T S there a magic formula for good pictures? 

•'■ Twenty directors, twenty-four leading players, 
thirteen scenario writers, nine cameramen and others 
to make up a clinical staff of seventy-three were 
called upon to answer the question; "What makes 
good pictures!" 

Twenty-tour ot the seventy-three questioned held 
that the story is paramomit. Seventeen maintained 
that the success or failure of a motion picture rests 
in tile hands of the cast. Fifteen declared that the di- 
rector is the most important union of the production 
chain. Twelve stated that without "cooperation" a 
good picture is impossible. Only three thought that 
photography was of first importance, w^hile one listed 
"lighting", another "clothes" ami two held for good 
titles and proficient cutting. 

The biggest names of the industry were called upon 
for their opinions and Nfr. Lasky, \'ice-president of 
f'amous I'layers-I.asky. for whom the compilation 
was made, declared that the information received will 
prn\e of the utmost x-aKie. 

Kalioiial Board of Review Maoazhif 

^The Tumult and the Shouting Dies'' 

FOOD tor the mind as well as the body was gen- 
erously offered at the 1927 Annual Luncheon 
of the National Board, iicld January 29th in 
New York City, which proved a very great success 
in many ways. Nearly one thousand people were 
assembled in the ballroom of the Waldorf Astoria 
Hotel, forming the largest gathering in twelve years 
of Annual Luncheoixs. This Luncheon was the cul- 
minating event of a three day Motion Picture Con- 
ference, under the auspices of the Board, which had 
brought together delegates from many parts of the 
country and with many film interests, to discuss "Tiie 
Motion Picture, Its Broadening Influence and L'ses". 
During the sessions of this conference a number ol 
excellent speeciies had whetted the interest in those 
which were to come at the Lunclicon session, before 
the larger assemblage of local people who gather in 
increasing numbers each year to hear and see. To 
see the screen stars who, as honored guests, come to 
give this part of their public a ciiance to view them 
in person — Gloria Swanson, Lois Wilson, Alice 
Joyce, Gilda Gray and other screen celebrities cast 
their spell of charm over all those present this year. 
And to hear the noteworthy addresses which ha\e 
become traditional at these National Board yearly 
Luncheons. This year, indeed, upheld the standard, 
with the following speakers: Prof. John Erskine. of 
best-seller renown through his "Helen of Troy" and 
"Galahad", who entertaineil aiul stimulated the audi- 
ence by his rapier edged remarks in a discussion of 
the "Irony of Censorship". .Mr. Victor Shapiro, 
Publicity Director of L'nited Artists gave an enlight- 
ening talk on "Putting Pictures Over". He appealed 
to this large gathering of intelligent motion picture 
goers to aid in Iielping to make successful the artistic 
picture. Famous Players-Lasky contributed one of 
their men to the enjoyment of the occasion, .Mr. Her- 
bert Brenon. who spoke in pleasing fashion on "The 
Artist and the Motion Picture", a subject on which 
he was qualified as director of Peter Pun and Riait 
Geste, two outstanding pictures. 

In fact, so full of worthwhile opinions and thoughts 
were the addresses of these three speakers that the 
next speaker. Mr. Christopher Morley, popular nov- 
elist and essayist, talked on ideas gleaned from the 
previous speakers or, "what have we". It is need- 
less to say he caused his audience many a chuckle. 
Dr. William Norman Guthrie, the well known rector 
of St. Marks-in-the-Bouwerie, New York City, hat! 
chosen as his topic "The Significance of the Visual 
Klement in Art" and whether he held very closely to 
this topic or not, does not matter, but what does, is 
tliat he made some lucid and thougiu provoking re- 

marks from a new angle on this \ery absorbing sub- 
ject, the motion picture. 

I he "Happiness Boys" of radio fame added their 
little touch of spice and the Waldorf Orchestra fur- 
nished excellent music. 

This enthusiastically received program was broad- 
cast over station WLAF but if you were not fortu- 
nate enough to be among those present or "listening 
in", this and future issues of the N.^tkjn.^l Board 
OF Ri:vii:\v M.'VG.Azixk will bring to you the messages 
ot the Luncheon. In forthcoming numbers will ap- 
pear also some of the high lights of the three-day 
Conference. Speeches pertaining to many different 
phases of the motion picture, were delivered at the 
various Conference sessions by authorities in special- 
ized fields, both within and without the industry; di- 
rectors, educators, publicity managers, editors, ex- 
hibitors and Cf)mmunity workers, in a consideration of 
the Motion Picture, Its Broadening Influence and 


N the ball room of the Waldorf, 
On the Thirty-fourth Street Corner, 
Dr. William Tower, chairman 
Of the Board, addressed the meeting. 
Stood erect and called the members. 
Called the Mo\-ie Minds together. 
From the desks on Seventh A\enue, 
From the offices on Broadway. 
From the sets in California. 
PVom the homes and clubs and school rooms 
All the tribes beheld the signal 
For the Celluloid Convention. 
For the Meeting of the Movies, 
For the Pow-Wow of the Pictures. 
All the speakers at the Meeting 
Checked their clubs within the Coat-Room 
I old ot Art in films, and Censors 
And the Voice of Silent Drama. 
Showed the Influence of Programmes, 
Spoke of Pictures tor Papooses. 
Came the dawn, and all left smoking 
Cigarettes, cigars and Peace-Pipe. 
Questions settled in the Spirit 
Of the Bigger. Better Pictures. 

(Movie tie-us item: The National Board of Re- 
z/fTc of Motion Pictiirt's is lioldini] its third Xatinnal 
Motion Picture Conference at the Jf'aldnrf-.l storia. 
The general topic of discussion is "The Motion Pic- 
ture, Its Broadening Influence and l'ses." ) by Rose 
Pe/siiick in .// ///,• Screen Door, Xezc York Journal. 
January 28, 1927. 

March. Nineteen Twenly-seven 

The Special Feature for the Special 



Mr. Clarkt', General Mauayer of the Easlnuin 
riu'iilre, Ko( liesler, A . )'., presented this address he- 
lure the Third .hniiial Motion Picture Conference 
held in January, under the auspices of the National 
Board of Rkvii.w in A't-rc- York Cit\. — EnnoK's 

Till-; limited interest motion picture represents 
at this moment the most signiriciint mo\ement 
in motion picture, 
it you look at the chief movie houses as they are 
in any city in the country today, you will find thea- 
tres running pictures that aim at the big public. It 
you talk with the exhibitors operating these houses. 
\()u will find them one and all concerned witii the 
problem ot making their shows attractive to the 
largest possible percentage of the population. The 
theatre which I operate is already geared up to the 
point wiiere we must dra\\ in on an average one- 
eighth of the entire population of Rochester each 
week or else lose money. This is the big side of tiie 
movie business. It is through this kind of business 
tiiat the motion picture industry has grown to its 
present remarkable proportions. 

A couple of years ago I had tlie idea that the 
mo\ie was necessarilv confinei.1 to mass appeal. \ ou 
might have books published for limited circulation; 
you might have stage plays intended for little thea- 
tres: but you couldn't ha\e movies of that kind. The 
very cost of the mo\ie required mass distribution 
[ and mass appeal. But I changed my mind. The 
! picture Siegfried changed it. I got a look at this 
remarkable picture and thought immediately that 
something ought to be done to combine it with our 
musical facilities. We tried placing it on what miglit 
be termed a road-show presentation in our small 
house. Kilbourn Hall, seating five hundred, at about 
three times the I'.astman Theatre admission price. 
Its success was instantaneous, and we played to 
\ capacity all the week. Although we were unable to 
give it the big orchestration which the Wagner score 
required, the show was impressive. True, we did 
not earn much money for the distributor, but still I 
fancy that if the fifty cities In the United States that 
are around our size or larger could have had similar 
presentation a good revenue might have resulted. 

This showing gave me the Idea of the limited In- 
terest movie. Up to that time, we had received in 
the general block of pictures hardly any artistic pic- 
tures of special appeal. We had some two years 

before had Nanook of the North, and played it at 
the Eastman in the height of the season, where it 
won the unenviable reputation of holding tlie low 
record for all time. For a while, even after Sie(f- 
fried, I felt just as many do, that it was up to us to 
play these artistic pictures even at a loss in order to 
maintain our rank as the leading house in Rochester. 
Fortunately for our finances these pictures came 

The next season, however, started the How of high 
quality pictures of limited appeal, like The Last 
I.iiiu/h, The Beyyar on Horseback, Moana and 
(irass. What should be done with them? We had 
bought these pictures and did not want to put them 
on the shelf. Besides, we In Rocliester, through our 
affiliation with the University, have more than a 
commercial Interest, and I felt that these pictures 
were entitled to a showing. So we laid our plans to 
start a series of experiments In Kilbourn Hall. To 
date we have had four and I can alreatiy draw some 
Interesting conclusions. 

But my interest in developing this type of presen- 
tation In Rochester did not start from motives of 
High Art alone. 1 was frankly commercial in my 
purpose, hoping that I might in Kilbourn Hall get 
a possible profit. This Is an Important point. I 
know only too well the feelings of the exhibitor who 
lias a large house and who sees a limited appeal pic- 
ture coming along Instead of the big box office bet. 
Most exhibitors, to tell the truth, take them with a 
v,ry face because they must. If they want the rest of 
the product. If they cannot afford to sheK'e them, 
they will throw tliem in during some off week where 
they figure the loss will be least, consoling them- 
selves with the thought that they are keeping up the 
tone of their house. 

I figured that it would be so much more comfort- 
able if I could ha\e a special place for showing such 
pictures to select audiences. I wanted to avoid 
losses, and I wanted to see just how large this dis- 
criminating public might be. 

Now for the conclusions, from the four presenta- 
tions we have had so far: 

1. Each one proved financially profitable. 

2. Each one started slowly and steadily built to 
a capacity business in the final performances. In 
some cases, had our Kilbourn Hall been available for 
extended runs, the extra performances would, I feel 
sure, have played to bigger business than during the 
runs scheduled. 


National Board of Riview Mai/azine 

3. They proved that there is a distinct public tor 
this class of entertainment. 

4. That this public can pay better than ordinary 
movie prices. 

5. That these audiences can be attracted without 
causing a depression at any of our other houses. 

6. The dignity of the presentation requires a two- 
a-day-policy rather than a continuous run. 

7. It is necessary to appeal to the intelligence and 
the discrimination of the audiences so that if the 
house should be nearly empty those present will con- 
gratulate themselves upon their finer sense rather 
than regard the presentation as a failure. 

These conclusions you must admit give a helpful 
sign. The special picture for the special audience 
has great possibilities. 

At the outset it is clear that the movement must 
confine itself to pictures for which there is clearly 
no market in the regular movie iiouse. Any picture 
that stands even half a chance of succeeding in the 
regular house can earn more money there. Per contra, 
no highly artistic picture of limited appeal should 
go into the regular mo\ie house. 1 had taken the 
position that it was tlie duty of the Eastman Thea- 
tre to present such worthy pictures even if they were 
ahead of the public taste, but I soon came to a dif- 
ferent conclusion. Every theatre has its regular pa- 
trons. It is tlie object of every theatre to make 
those patrons want to come every week and to sat- 
isfy them once they are in. Eike every other large 
theatre, we at the Eastman are organized to please 
the big public. If the showing of an artistic picture 
means loss of business, its showing at our house can- 
not be justified. To cater to the tastes of the few 
while tlic many stay away is fundamentally wrong. We 
owe weekly entertainment to our steady movie go- 
ing public, and the essential quality of audience ap- 
peal must be the foundation of any show we may 
arrange. The distinction between the two types of 
pictures is not iiard to make. In the screening room 
we have no difficulty in separating the one type from 
the other. There is at this moment a goodly sup- 
ply of pictures for the special audience, and it is in- 
teresting to observe that so far most of them have 
been German. Incidentally 1 should add that scenic 
and travel pictures appear to be particularly wel- 
come to the special audience. All exhibitors operat- 
ing houses on the big appeal basis know how easily 
a scenic feature can secure enthusiastic press com- 
ments, and at the same time a large sized financial 
loss. Such exhibitors have a pleasant surprise in 
store for them when they present tiiese scenic fea- 
tures to the discriminating public. Our trouble at 
the moment does not lie in securing suitable fea- 
tures, but we are very much troubled in finding suit- 
able short subjects. 

Taking now the limited interest movie, our first 
aim must be, as I said before, to find out how large 
a special, discriminating public can be gathered. In 
presenting such movies, we must never lose sight of 
the fact tiiat they cost money to produce. Only 
those showings which yield a fair return to the pro- 
ducer commensurate with their cost can be said to 
help the cause of the artistic movie. Anything short 
of this cannot be of lasting help in the development 
of the art. I do not know much about the cost of 
producing the artistic picture as distinct from pro- 
ducing the box office picture. But this I do know — 
that if the limited interest movie is to get anywhere 
it, like its richer brother, must be able to earn its 

Once we have definitely establishetl the field of the 
limited picture, we can turn our attention to the still 
more limited picture and see what can be lione with 
that. Provided that some subscription basis can be 
arranged to overcome the initial publicity cost, there 
will be opportunity for the presentation of films for 
one or two performances. With us in Rochester the 
only thing standing in the way of rapid development 
of this plan is the availabihty of Kilbourn Hall, for 
this hall is the recital hall of the Eastman School of 
-Music, and as there are at present more films worthy 
of this special treatment than there is available play- 
ing time I have not yet been able to try out all the 
experiments I have in mind. But this much I can 
liefinitely conclude from our experience so far: 

1. It Is up to the exhibitors to organize special 
houses for the showing of these pictures of limited 

2. Exhibitors must divorce the big appeal business 
from the limited appeal business. Publishing houses 
liave done this, and so must the exhibitors. The 
public has a right to expect this form of entertain- 
ment, and we are satisfied already that this can be 
presented without financial loss. 

3. And lastly, any exhibitor who passes this by is 
o\'erlooking a good opportunity. 

The preceding article makes us hark back to an 
editorial in a previous issue of this magazine which 
said in part "In 1922 the NATIONAL Board of Rk- 
VIEW first broached the idea of showing pictures of 
unusual artistic merit for special audiences in a chain 
of small motion picture houses throughout the coun- 
try. . . . The more Immediate objective would 
he to organize special audiences whose Interest could 
he aroused by special showings. As these audiences 
become more articulate in their demand for artistic 
pictures the inducement to make pictures of this sort, 
either on the part of the industry or by cooperative 
studios endoweii or supported by these same au- 
diences, might in time become compelling." 

March. Sini-tien Tuinty-sevin 

The Museum and the Motion Picture 


Mr. Elliott, Director of Ediudtioiuil Work-, Mtl- 
rupoliltiii Mii.ifinn of .iri, S tic Y ork City, dt'li-jcred 
this tiddrt'ss bcjorc the Third .hiiiiuil Malioii Pic- 
ture Conference of the National Board oi Ki.\ ii w . 
— llniroR's XoiK. 

1151 I.ll'N 1-, tluit there will be some use tOuiul In 
the future tor the motion picture in tlie Mu- 
seum ot Art, although I am not at all convinced 
we have found it as yet. 

When you consider a Museum of Art. you think 
of pictures, statues, chairs, tables, silverware, gran- 
ites, all the works of beauty brought together under 
one roof and brought there for wliat purpose? l-Or 
the purpose of quiet, silent contemplation of the 
things themselves. Where does the motion picture 
help us in that? 

A child goes to the Museum of Natural History. 
He is impressed by the animal, though more im- 
pressed by the motion picture of the animal. But 
does the motion picture of a work of art give us 
greater delight than the work of art itself? Ihat 
is the question. The picture or statue is there to be 
observed for its own self and as far as I can see at 
present, no motion picture concerning that object Is 
going to help very much as far as aesthetic expres- 
sion goes. 

We may. of course, use the motion picture to aid 
us in capturing the attention of the average perst)n 
by showing him the process. He may look a little 
more clearly at a vase if he has seen a moving picture 
of how pottery is made, or at a tapestry If he has 
seen a motion picture of the weaving of a tapestry, 
but it is merely leading him up to the object and hop- 
ing that when he gets there he will appreciate the 
aesthetic, that his faculties will be aroused. But will 
the motion picture arouse aesthetic faculties? I am 
not sure. 

But there is one beam of hope, as I see It. Those 
of us who remember moving pictures for the last 
twenty-five years will remember that the artistic 
standards, though not very high as yet, have de- 
cidedly increased in that time. And it may be through 
the raising of artistic standards in the moving pic- 
tures that we will have a greater appreciation of 
the works of art in the Museum. We are trying out 
this very thing now. We are experimenting at the 
Metropolitan Museum with making moving pic- 
tures. The idea is frankly experimental and we hope 
that some good will result. These pictures are be- 
ing shown over the country, but how far any interest 
in them is developing artistic appreciation, I am not 
sure, but the hopeful thing is, that the movies have 
Improved artistically. We are now at the beginning 
of colored moving pictures. 

When (icople sa\ to me at the Museum, 'A\'hat 
are we tloing artistically, and what are we doing that 
is worth while, what are we really accomplishing?" 
1 say, "I hue you seen our skyscrapers?" Through 
necessity ot geographical situation, we have created 
a new art In the field of architecture, new In the his- 
tory ot the work! ami something of which we may 
well be proud. Wc are having that development 
because we have a need for It. But It may be when 
tlie critic of art in 2027 Is talking about artistic tie- 
velopment, he may say. "The Thirteenth and l-Our- 
teenth Centuries were the periods of development 
of painting, but the Twentieth' Century was the time 
ot the great development of the mo\Ing picture." 
I he picture of the future will not be painted by hand 
on canvas but will be acted, painted scenes of extra- 
ordinary beauty. One can imagine such things, anil 
1 am not at all sure I would be a false prophet If I 
shoulil say that where the moving picture will help 
the .Museum of Art will be through the appreciation 
people as a whole will get from the glorious moving 
picture which I believe may come. 

Editor's \ote. — The Metropolitan .Museum of 
Art has produced a number of motion picture films 
which deal with various phases and periods of art. 
Others have been presented to the Museum for dis- 
tribution. From time to time there will be added 
to the list new pictures. Tliose now available are: 

The Temples and Toiiihs of .tncicnl E,cj\f>t — 2 

The Daily Life of the Egyptians — .Indent and 
Modern — 2 reels. 

.y Visit to the .hmor Galleries — 2 reels. 

Eirearms of Our Eorefathers — 1 reel. 

The Gorgon's Head — 3 reels. 

The Spectre — 1 reel. 

The Pottery Maker — 1 reel. 

The Making of a Bronze Statue — 2 reels. 

Vasanlasena — 2 reels. 

"Tliere Is no doubt In my mind that the film is 
destined to play a great part in the art world's future, 
because it is a type of entertainment which offers 
something to all classes. Neither the theatre nor the 
opera of today can boast so universal anti dramatic 
an audience as the cinema. — Ma.x Reinhardl. 

"The strength of the German films lies in their 
scenarios, and that's precisely where, in my opinion, 
American cinema productions are weakest. The 
scenarios of the future must be written by artists of 
the same calibre as Shaw. O'Neill and Hauptmann, 
and the only difference will be in the medium of ex- 
pression. — Ma.x Reinhardl. 


Stili'iiiiil Board of Riiieiv Magazine 

Exceptional Photoplays 

I-OL'ISE IIacknev 
llARBitT Menken 
Edward A. Mobee 
Frances T. Patiersov 
j. K. Paulding 
Wai-ikk \N'. Pettit 


A dfjhirliiu'iit devoted to an impait'ul critique of the best in ciirrenl photoplay 
production. Each picture before being listed, is thoroughly discussed by a volunteer 
committee composed of trained critics of literature, the stage and the screen, who 
are the sponsors of this department. The printed rez'uivs represent the combined 
e.vpression of this committee's opinions. The rcz-iezcs aim to convey an accurate 
idea of the films treated, mentioning both their excellencies and defects, in order to 
assist the spectator to Z'ie-w the productions zulth Increased interest, appreciation and 
discrimination. The rez-lezcs further try to bring to the attention of the reader of 
special tastes or Interests, or of severely limited time for recreation, those photo- 
plays which genuinely contribute to the art of the screen. 





Alfred B. Kutt.ner 

Stark Love 

Directed by A'rt/V lirown 

Fhutographed by James Murray 

The Cast 

Barbara Allen Helen Munday 

Rob ff'aricick Forest James 

The Father Filias .Miracle 

^ I'.IKK l.OI'E has come to trouble the waters 
^ ot filrndom, those complacent waters which 
^■^^ liave been used so often to dilute the blood ot 
lite which ought to course freely through every mo- 
tion picture and make 
the seeing of it a \-ital 
experience. It is a dis- 
turbing, iconoclastic per- 
formance. And now 
that it is ready to be 
thrown upon the screen 
for all to see, it is up 
to the distributors to 
distribute it, the critics 
to criticize it, and the 
public to appreciate it. 
It is no easy task. 
Karl Brown, who is re- 
sponsible for the origi- 
nal difHculty, adds to 
the complication. He 
says that Slark Love is 
neither a movie nor 
a travelogue of life 
among the North Carolina mountaineers and that 
least of all it tries to be a "different" movie. He 
calls it a truthtul cornpi'omise of a series of reactions 
to problems as tiiese mountaineers would meet them 
in their lives, told through illustrntl\e incidents 
specially selecteil ami enacted before the camera. 

The critics have already given their reactions. 
They have hailed the picture as a great achievement 
with almost undivided praise. They have put the 
picture on the map as far as the cognoscenti are con- 
cerned. The consensus about the picture is over- 

The distributors are hoping that the exhibitors 
will either rise to all this critical praise or fall for it, 
as the case may be. Perhaps the local art racket 
and the twitterings from the lobby of the Cameo 
theatre will swell the boom of the country-wide bal- 
lyhoo. Beyond that the horizon appears threaten- 
ing and uncertain. Not since Caliyari first appeared 
pnd Robert Flaherty Haunted his icy epic or his 
South Sea idyl without a dank heroine rescued from 
the surf and a yacht in time to save her virtue, have 
the distributors faced such a problem. Consider a 
sales force trained to sell super spectacles, heavy 

losing, night club 
naughtiness, big fight 
scenes and what have 
you in the way of ho- 
kum, punch or thrill. 
What are they to do 
with a picture devoid of 
any of these selling 
points, where the char- 
acters know nothing of 
romantic love, where 
\irtue is never regis- 
tered or vice Haunted, 
where the hero parts 
Irom his horse without 
e\en kissing it. 

And what is the a\"- 
erage fan going to say 
to Stark Lazi"' Will 
it ha\'e a popular suc- 
cess or e\en a success sufficient to justify the experi- 
ment and similar succeeding ventures? 

Tiius a fine picture has come to disturb the movie 
worlil. It asks the fans to reverse themselves and 
like a picture which they are supposed not to ap- 
preciate, (and which the industry as a rule takes care 
that they shall not ha\e a chance to appreciate.) 
It asks the distributors to invent an entirely new line 
of sales talk about a product which their entire train- 
ing and experience have hardly fitted them to sell 
convincingly. And it asks the critics to say some- 
thing vital and fresh which will lift them above the 

March, \inttiiii I liintx-irveii 


.'.ccus.uion c)t borrow iiiij the cliamiclicrs ot the older 
arts to glorify the tOrtuitious aciiiex ement ol an art 
that still largely remains to he appreciated in its 
own terms. 

Perhaps it will he iTiost [ironiisirit:; to gamble on 
the tans, or rather those among them who have be- 
come accustomed to ha\-ing the lietter pictures 
brought to their attention through tiie meillum ot 

I special showings and the deliberate appeal tor their 
support of exceptional pictures. Ot the distributors 
we must not expect too much. Tliey cannot rebuiKl 
their machinery ot exploitation over night. It the 
picture picks up to the point ot" tiiat nnsterious com- 
pulsion where an over- 
whelming number of 
people become con- 
scious of a feeling that 
they simply must see it 
they will once more be- 
lieve in the miracles of 
this e\er miraculous 
movie business. .\nd 
the critics, as has al- 
ready been said, have 
had their say. They 
have been on the siile 
of an angel who. uglv 
duckling though he may 
be for people who have 
preconceived ideas of 
angels no less than pic- 
tures, is still an angel. 
For the discriminat- 
ing movie goer the road 
to Stark Lo'ce ought not 
to be so hard to finci. 
Thematically it goes 
back to Driien, that 
lone effort of Charles 
Brabin about four years 
ago which treated the 
life of the Kentucky 
mountaineer w i t h a 
realism too daring in 
its day for a popular 

j success and yet courageous enough to keep it alive in 
the present day revival and repertory movement. 
In method it lines up with Flaherty's Xatiook and 
Moiiiici, for here too a people alien or hostile to the 
movies had to be won over into re-living some of 

' the significant episodes of their lives before the 

.Mr. Karl Brown has already admirably set forth 
what Sttnk Love is not, as well as what it aspires to 

[ be. After four months of patience and effort he per- 
suaded these culturally atrophied mountain folk, act- 
ing in their own characters, to do something of what 
''e wanted of them, to make what he had seen in 

their lives vivid to the rest of the world in moving 
pictures. I"or the most part they themselves did not 
know what they were iloing, for the picture was pur- 
posely taken in unrelated sections to guard against 
their resentment at being used for a show. 

Ihe picture begins episodically, with little mo\ e- 
ment, relating slowly the domestic relations, wavs 
ol living, and means of existence of an unbelievably 
backward people. The sersitude of the women, as 
unquestionably accepted as imposed, in the role of 
draught animals ami joyless mothers is brought out 
from an almost purely sociological angle. The pho- 
tographs- here is ileciileilly iTionotonous, as if studi- 
ously a\<)iding an\- spe- 
cial "effects," and the 
camera is rarelv useil 
cinematically except 
where by repeated shots 
ot the narrfiw, closely 
wooded \alleys and the 
isolated homesteads it 
skillfully con\evs the 
shut-in anil cut-off loca- 
tion ot this primitive 
community. I-ong and 
wordy titles also tend 
to slow' down the action 
of the first part of the 

Ciratlually, however, 
the picture gathers mo- 
mentum and the impres- 
sion created by the fore- 
gone episodes becomes 
cumulative. We have 
seen how one of these 
homes collapses when 
the woman who has 
been its beast of burden 
dies, and how loose the 
tie of parentage is when 
the widower has to dis- 
pose of his burdensome 
children for whom he 
does not know how- 
to care. We have had an unforgettable, mutely 
dramatic view of a child which looks after its de- 
parting father in a way that is the more terrible for 
its very lack of tears or reproaches. And we have 
seen a drained and used up old woman cowering at 
a cabin door, who has become an outcast because she 
did not die in time. The immemorial tragedy of the 
slave has rarelv been more poignantly set forth in 
modern drama. 

Now another widower applies for a young girl 
for whom his own son has come to feel a mating 
impulse which precedes by endless centuries the pe- 
riod when men and women consciouslv articulated 


their love or felt it to be a tOrce wliicli expressed 
their idealizations of each other. When the son re- 
turns after seilinj^ his horse in order to buy the girl 
a little schooling which will raise her at least to the 
literate level, he timls her installed in his father's 
house to take the place of the mother who had died 
in his absence. The two men clash over her not as 
father and son but as two males o\er a woman. Biith 
are right and neither hates the other or accuses him 
of any evil design. When the son, subjugated by his 
father's superior though considerately restrained 
strength, still resists, his father almost regretfully 
crumples him up with a blow to the stomach aiui 
throws him out of the house where he rolls into the 
swelling creek. The girl uses an axe to escape from 
the father who is past comprehending what is hap- 
pening in her heart antl mind and runs to snatch the 
stunned son out of the creek. .\lter a needlessly 
prolonged struggle for purely theatrical eftect, they 
are seen walking away across a meadow into an un- 
certain future with no indicated happiness except 
such as we may infer from our perhaps too sophis- 
ticated imagination prone to prefer the sop ot liap- 
piness to the austerity of life which here at all e\ents 
is really stark. 

When we come to praise this picture we tind that 
we are largely commeniling it for qualities which 
every good picture ought to have, whether one calls 
them truth to life, honesty, unaffectedness, unconven- 
tionality, or what-not. If the general run of pic- 
tures were more true to life, the mere truthfulness 
of this one would not he so outstanding. Life should 
either be honestly told or else left alone entirely. 
The pretense of reality is the outstanding sin of pic- 
tures today. They forever proclaim that they are 
going straight back to life only to bring back a soiled 
or distorted version of it. The scales are always 
tipped and the message which life might hold is al- 
ways obscured in favor of a pretletermined effect. 
The lazy spectator wants a villain to hate and a hero 
with whom to identify himself ami is promptly fur- 
nished with such dummies in emlless succession by 
a complacent producer who lustily cites the artistic 
qualitv of his mechanical arrangements which de- 
stroy the very possibilities of art. 

Thus when we realize that Stciik Loi'c merely does 
what all good pictures ought to do its excellencies 
become relative. But it is also divine in its own 
right because in its particular instance It performs 
its proper function superbly. \\'lietlier or not It 
ever builds up into a popular success, Karl Brown, 
its creator, is a pioneer and an artist even if he has 
not fully achieved his dream. What he has done 
will make studio heads uneasy and trouble the spec- 
tators. His picture is important beyond its imme- 
diate effect because, like the other pictures already 
mentioned w"ith which it is kin, it re-opens the whole 
(Cnitlinned on page 17) 

Salional Boaril of Rtviiic Matjaziiif 

The Music Master 

Dirtclrtl by illan Dican 

l> hut. graphed by : ^;^';;^'' ^ ,/.'''■'''"''■ 

I II illioiii Milttr 

The Cast 

.liitun Inn Biiru'iy Alfc B. Francis 

I lilene Stanton Lois Aloran 

lifverly Crutjer AV/7 Hamilton 

.Inilrtiu Cruger }\orinan 'I'rtvor 

Richard Stanton Charles Lane 

Jules II illiain T. Tilden 

Jenny Helen Chandler 

Miss I lusted Mania Harris 

.Mrs. Antlreiu Cruijer Kathleen Kerriijan 

.Hit/iist I'oons Howard Cull 

I'inac Arinand Cortes 

I'iro Leo Feodoroff 

Mrs. Mani/enborn Carrie Scott 

Pan'nbroker Dore Davidson 

Medicine Shoiv Barker Walter Catlett 

IN The Music M^isler Alec B. Francis success- 
fully continues his screen creation of famous 
characters from American stage classics so aus- 
piciously begun with his impersonation of Peter 
(■'rlnim. The effort is decideilly worth while for 
these pla)s are meaty and yield good, it not always 
entirely fresh, material. 

The story of the abused music teacher, who ilead- 
ens his sorrow for his long lost daughter with the 
probably none too musical piano exercises of his ran- 
dom pupils, mo\-es at a leisurely pace which Is rather 
well suited to .Mr. Francis' somewhat slow delivery. 
His impersonation is honest and sincere and yet one 
sometimes wishes that he would not always register 
his emotions quite so deliberately. The director has 
made the most of the actor's resemblance to Franz 
Liszt and poses him side by side with the famous 
composer or carefully frames his profile in a handy 
round moulding In the door in a way to make the 
portrait look like a medallion. While this Is not 
without a certain effectiveness it further slows up 
the action and tends to enhance the static impression. 

The story of the picture Is, of course, already 
pretty well known. The old music master is shown 
an easy prey to a detective, who none too scrupu- 
lously has for years been selling him spurious clews 
to his daughter's whereabouts the payment for 
which eats up his earnings as fast as they accumu- 
late. She enters into his life unknown to him as a 
charming society girl who Is interested In a young 
boy of promising musical talent for whom she ar- 
ranges a series of lessons the payments for which 
are providential to the olci man's meagre exchequer. 
Fie gropingly senses his kinship with her at first and 
then, when the evitlence is complete, confronts her 
foster father who had run away with his wife in 
the long ago ilays back in Vienna. 

But the girl is about to consummate an ad\an- 

March, \iiiiliiii Ttcfiity-sevt'ii 


tageous marriage and the father is persuaiieil to 
make the sacrifice ot effacing himselt so as not to 
stand in the way ot her social success. In tlie end, 
liowcver, the girl lierselt (.iisco\ers the relationsliip 
and briislies social considerations aside in order to 
be reunited to her father. 

The pathos of tliis simple story, with its occasional 
dose ot over-sweetness, is fully brought out botli in 
the acting and the directing and l.ois Moran does 
her appealing bit as the lo\ing and gentle daugliter. 
The rest of the cast is competent. Ihe picture is 
certain to please the past generation which remem- 
bers Daviil NN'artield in the original role and has a 
lingering affection for a play wiiich in its time re- 
ceix'ed a very wide appreciation. It is. besides, a 
wholesome relief from the shrill antl hysterical plot 
of the modern picture whicii stri\es to be sensational 
at all costs in direct proportion to its lack of genuine 

(From I lit' play ivritten by Choilcs Klein and pro- 
duced by David Belasco. Scenario by Philip Klein. 
produced and distributed by Fox.) 

"The Yankee Clipper" 

Directed by Rtiptrt Jiilitm 

Photuyraphed by J'jIiii Mescall 

The Ctist 

Ilal Winsloiv IVilliam Boyd 

Jocelyn Huntington Elinor Fair 

.Mickey Junior Cot/hlnn 

Richurd John Miljan 

Portuyuese Joe It niter Lony 

linntinylon Louis Payne 

Mr. IFinslow Burr Alclntosh 

Alf George Ovey 

Hnm Zack Jl'illinms 

Ike H'illinn, Blinsdell 

Cnpliiin .Mcintosh Clarence Burton 

.1 nierican Mate Stanton Heck 

Queen f'ictoria Julia Faye 

Zachary Taylor Harry H olden 

Prince Consort W. Sousania 

Chinese .Merchant James Wang 

TO the ambitious pictorial treatment of the fri- 
gate as witnessed by Old Ironsides, is now 
added that of the early American fast mer- 
chantman in The Yankee Clipper. 

It hardly need be said that here lie possibilities 
even greater, and with a far more romantic connota- 
tion, than in the tale of the earlv American Navy. 
It was the clipper ship, keen and tall and hard-driven 
by an amazing class of bold and hard-bitten seamen, 
that really put us on the maritime map and gave us 
a temporary supremacy and prestige on the sea rare- 
ly equalled by another nation. The pictorial rep- 
resentation of these ships and their voyages through 

the medium ol the motion picture camera would seem 
boundless. Thus we come to 'Flie Yankee Clipper 
with the highest expectations. To say that they are 
not entirely, or even in greater part, fullilled is not 
as grave a criticism of the lilm as it might seem. 
I ime ami vast experimenting are needed, plus a feel- 
ing for vessels and the sea, that the commercial stu- 
ilio force suddenly put aboard ship, can jierhaps not 
he expected to attain at a iiouiui; 77/c Yankee Clip- 
per therefore must be regardeil as a tentative sketch 
— a camera essay into a wintly, watery ilomain where 
the obstacles are great to real and permanent 

The film tells the story of the race between the 
supposedly first American antl British tea-clippers 
starting out of Foocliow on a course to Boston. Na- 
tional rivalry is pleasantly ilwelt upon, as well as the 
inevitable amatory feature wherein a young British 
lady, the daughter of the owner of the British clip- 
per, having been abducted by the Yankee clipper 
captain along with the last package of tea, is won by 
the latter at the last moment as the American ship 
passes her rival oft Boston Light. None of the peo- 
ple in the picture are very important or very con- 
vincing, the Yankee captain least of all. Too much 
has been made of them, and too mucii of the story. 
It is in the shots showing the ships that the picture 
stands out and achieves every now and then a real- 
ism antl gives a breath of salt and winilv spray, tell- 
ing us something of the arduous handling of ropes 
;'nd cantankerous canvas by rough hands of a race 
f)f sailors passed away. 

Some of these shots — and there are far too tew 
of tliem — give us the living ships, two noble clippers 
hard-beating through the main, through calm and 
.^torm, through light and ilarkness, in a compe- 
tition still noble if essentially commercial, and with 
much of the mysterious and the wondrous about 
it. Among other features, tliere is the most convinc- 
ing sequence showing ships at sea in a storm — in a 
veritable and believable tvplioon — that has as yet 
been put on the screen. Here a ship in a heavy sea- 
way, plunging with shortened sail and half-stark 
masts into mammoth waves, lifting out of them with 
the foam-whitened green streaming from her decks, 
is perceived with that magic quality of the camera 
that makes us not only see the object in focus at the 
height of dramatic struggle with its natural adver- 
saries, but also to hear and feel the movement and 
noises of the combat. This was worth doing, for a 
ship in her victorious travail is a protagonist chal- 
lenging the best efforts of the motion picture camera. 

{From an original screen slory by Denison Clifl, 
Supervised by C. Gardner Sullivan. Produced by 
De Mille Pictures Corporation. Dislribuled by Pro- 
ducers Distributing Corporation.) 


halioiml B'laiil i,j Rivien' Mai/azine 

Selected Pictures Guide 

Rez'iezv Committee 

Consists of approxi- 
inatrly 2J0 trained 
members reprcseiita- 
live ot widely varied 
interests who volun- 
teer their services for 
the review of pictures. 

.1 di'purliiiciil (li'ioU\l It) llic best pof'iilar eiili-rUiiiiineiit and pioi/iuiii films. 
Eacli picture is reviewed by a committee composed of members from the Reiiew 
Committee personnel. Tlieir choice of the pictures listed is based upon principles 
of selection developed Ihruut/h lony study of tihut constitutes a good picture from 
the standpoint of entertainment value. '1 he findings form a composite opinion of 
each committee's vieivs ami upon this opinion are based the short reviews and audi- 
ence recommendations of the pictures appearing in this department. These reziews 
seek to bring to the reader an unbiased judgment of the pictures most worthy of 
popular theatre patronage and most helpful in 'urogram building for special shoii'ings 
of selected entertainment films. 


Deparlment Staff 


FkancesC. B.\xitti I 



Key to Audience Suitability 

General audience (compused principal- 
ly of adults). Pictures primarily inter- 
esting to adults — but pictures not ordinar- 
ily rccomniended tor boys and girls may 
be included in the list it the presentation 
is not objectionable tor them. 

Family audience including young peo- 
ple. Pictures acceptable to adults and 
also interesting to and wholesoine tor boys 
and girls of High School age. 

Family audience including children. 
Pictures acceptable to adults and also in- 
teresting to and wholesome tor boys and 
girls of grammar school age. 

Mature audience. Pictures recom- 
mended for the consideration and enjoy- 
ment of adults. 

Note: — Programs for Junior Matinees 
should be selected from pictures in the 
family audience classification. 

* — Pictures especially interesting or ziel! 
done hut not necessarily "e.\ceptional." 

The Beloved Rogue 

Directed by /I Ian (^rosland 

Featuring John fiarryinorc 

Original screen story hy Paul Bern Irhin 
h is t orical s o u rces . 

AKO.MANTIC tale of France in the 
■'»■ time of Louis XI. Charles, Duke of 
Burgundy is trying to gain the throne of 
I'rance by marrying the King's ward, 
Charlotte of \'auxcelles, to Thibauit 
d'Aussigny, plotting with hiin. Francois 
\'illon, a poet and ne'er do well, loved by 
the people, has been banished from Paris. 
Later the King learns of the treachery of 
the Duke of Burgundy and is pleased that 
his plans have been thwarted. Villon, who 
hy his wit and cleverness has made this 
possible is pardoned and marries the lovely 
Charlotte himself. The story is interest- 
ing and well handled, although Barrymore 
has more or less resorted again to acro- 
batic antics. 

I"or the general audience. 

(United Artists — 10 reels) 

Casey at the Bat 

Directed by Monte Rrice 

Featuring Wallace Beery 

Poem hy Ernest Lan'rence Thayer 

/^OOD comedy of the gay nineties. 
'^ Casey, a jimk man, in a small town, 
is the champion at the bat and is given a 

contract with the .New YOrk giants. His 
girl follows him to the city to keep an 
eye on him. The day of the big deciding 
game he is framed by his manager and 
promoter, and loses the game. He suffers 
deep humiliation when his former friends 
turn from him, but his girl has discovered 
the frame- up and in the end he is vindi- 
cated. Fxcellent comedy uith clever sub- 

I' or the family audience including chil- 

( I'amous Players — 6 reels) 

Heaven on Earth 

Directed by Phil Rosen 

I- , \Renee Adoree 

teaturing •; ,, , ,. , 

{(...onrad I\ agel 

Original screen story bv Phil Rosen 


-'^ wealthy young Frenchman and a 
strolling gypsy maid. Orphaned early in 
life, Edmund Durant is brought up by a 
spinister aunt who thinks for him, chooses 
his clothes, his friends, arranges every de- 
tail of his career. She therefore expresses 
great surprise and consternation when he 
refuses to marry the girl of her choice. But 
like the proverbial worm which turned 
(this simile may be permissable since his 
wealth is derived from the silk industry) 
he rebels, responding to the lure of free- 
dom, roaming hill and dell in the company 
of a carefree singer. War days ruthlessly 
intrude upon this "heaven on earth" but in 
time, war passes and peace again wraps 
the hills of France in calm and happiness. 
The plot of the picture is somewhat remi- 
niscent of The E.xquisite Sinner, an 
earlier picture starring these two players, 
but the lyric quality which so marked that 
film is absent here, although the acting is 

For the family audience including young 

( .Metro-Goldvvyn — 7 reels) 

Les Miserables 

Directed by Henri Xaltas 

Featuring French Cast 

Novel by J'ictor Hugo 

T I FE story of Jean V^aljean, a poor 
•'— ' young peasant of Southern F'rance. 
In his dire need for food he steals and 
is imprisoned. Later freed from prison, 
in the course of his wanderings he comes 
to the home of a priest. There for the 
first time in his life he is trusted and 

though he absconds with the priest's sil- 
ver during the night, still the Influence of 
this trust remains with him and changes 
his life. Assuming another name, he set- 
tles down in a small town and becomes 
the respected and much loved mayor. A 
poor girl befriended by him, dies leaving 
a small daughter, which Jean \ aljean 
adopts as his own. At one time he is rec- 
ognized by an officer of the law, as the 
man who has been wanted by the police, 
but because of his later blameless years, 
he is not betrayed and so before he dies 
he sees his adopted daughter happily mar- 
ried. And when the old priest, from whom 
he had stolen, appears to him as he is 
dying, he believes that because of his later 
years of right living he has atoned for 
his earlier sins. The picture is well done, 
although it is too long, and the acting of 
the child should be mentioned as outstand- 

l""or the general audience. 

(Universal — 10 reels) 

Let It Rain 

Directed by liduard ('line 

I- , \Doufilas UlacLean 

teaturing ,vii if 

Original screen story by Douglas MacLean 

A RATTLING good comedy-drama of 
■'*■ the friendly enmity between the Sail- 
ors and the .Marines. The battleship fleet 
is lying in the peaceful waters of the Pa- 
cific, but conditions on board are not so 
peaceful, with the "leathernecks " and the 
"gobs" outdoing each other in all sorts of 
trickery. The leader of the former Is a 
nonchalant yoimg sergeant called "l^et It 
Rain " and when he and the sailor's leader 
are caught by the Major their punishment 
is annoying and amusing, in the case of 
two sworn enemies. Adding fuel to the 
fire, visitors come aboard and a fair young 
lady enters into the rivalry between the 
two leaders, then it becomes indeed a 
fight to win. The Marines seem to be 
in the lead, at least in the feminine eyes, 
but there are continual ops and downs 
until the Marines are detailed to guard 
the mails and the fair heroine playing an 
Important part in this adventure, it is all 
cinched for the Marines. And yet there 
is a pleasant surprise in store whichever 
side one favors. 

For the family audience including chil- 

(Famous Players — 7 reels) 

Miiiili, Sinitiiii Tuiiily-seven 

The Love Thrill 

Dtrtilid by Millant 11. bb 

Featuring Lniira La I'lniitr 

Original screen slury by Millard Webb 
and Joseph Mitchell 

AN insurance man and his dauj;hter iin- 
ahlp to land a lar^e order tor insur- 
ance from a wealthy man, which will save 
their business, read in the newspaper that 
this man's best triend has been eaten by 
cannibals in one of his explorations, and 
the news item hints of a possible widow. 
The dauf;hter decides to pose as the ex- 
plorers widow so as to sain the sym- 
pathy of the wealthy man and sell him in- 
surance. Complications arise however 
when the explorer returns hale and hearty 
to (ind that he has acquired a widow. In 
the end the explorer marries the wido\v 
and she s;ets the order for the insurance. 
For the general audience. 

(Universal — 6 reels) 


The Magic Garden 

Dirtcled by J. l.rn Milium 

,. \Maraant M arris 

tiatitring „ ' , ,. 

[Knyiiiona Keaiie 

\ovel by Gene Stratton-Porter 
HIS picture is a charminp idyl of a 
boy and girl friendship which ripens 
into love. John Ciuldo, whose talent for 
the violin is revealed at an early age, is 
devoted to Amaryllis Minton with whom 
he plays in a beautiful garden which unites 
the two estates. He departs for a long 
course of study abroad to lit himself for 
the career of a violin virtuoso, vowing 
eternal friendship for his playmate, ^'ears 
afterwards when he is on the threshold of 
his triumph, the girl encounters him again 
in \'enice and finds that his devotion has 
been as unquestioning as hers. His suc- 
cess has left him unspoiled and Amaryllis 
eagerly awaits him in the same garden in 
which they pledged their childhood troth. 
A false rumor of his accidental drowning 
plunges her into despair but he turns up 
unscathed and reveals his presence by 

. playing the melody which has become the 

I symbol of their love. 

For the family audience including young 

(F. B. O.— 7 reels) 

The Monkey Talks 

Directed by Kaoul ll'iilsli 

(Olizie Borden 

Featuring Klacques Lerni r 

{Don Ah-aradr, 
Original screen story by L. G. Rigcy 
TNTKRFSTING drama of circus life 
^ in France. A young man in love with 
a circus girl, is disinherited by his wealthv 
family. He discovers that this girl is 
untrue to him. While in a mood of dis- 
pondencv. he meets his "buddy" of the 
war. a dwarf with a heart too big for his 
bodv. who in the company of an older man 
is touring France with a show. The three 
become fast friends and they hit upon the 
scheme to dress the dwarf as a monkey and 
advertise him as Joko, the monkey who 
talks. loko soon becomes famous and 
when the trio meet a lovely girl who is 

playing in the same theatre \v ith them, 
they decide not to tell her who joko 
really is. Both the young man and Joko 
fall in love with the girl. When the 
former sweetheart of the young man, in 
revenge abducts Joko and replaces him 
\\itli a real monkey unexpected things 
happen, but the true Joko, although he 
sacrifices his life, becomes the true hero. 
The acting of the monkey is exceptional 
^md the story unique. 

I or the general audience. 
Fox — 6 reels. 


Directed by /. /,' '/ Mi i iiiiii 

Featuring Belle Bennett 

Xovel by Kathleen \orris 

THK Ellis family is happy though poor. 
Father's job is rather precarious, 
brother wants a car like all the other fel- 
lows have, hut Mother's love ajid care 
makes up for all material lacks. Then 
unexpected fortune nearly brings with it 
misfortune, for selfishness takes the place 
of thoughtfulness and a break-up in the 
once happy family seems inevitable. But 
Mother keeps her head and through her 
love and guidance a return to happiness is 

For the family audience including young 

(F.B.O.— 7 reels) 

The Mysterious Rider 

Directed by John U' alter 

Featuring Jack Holt 

Novel by Zane Grey 

A ROMANCE of the Western plains. 
An unscrupulous lawyer procures a 
grant of land on which the homesteaders 
have settled and farmed. He offers to 
buy their land but when the man they 
chose to deliver the money returns with 
the receipt, he has nothing but a blank 
piece of paper to show. Being accused of 
the theft of the money entrusted to him, 
disguised as a mysterious rider, he inves- 
tigates the matter and discovers that dis- 
appearing ink had been used for the re- 
ceipt. He returns to the homesteaders 
as they arc being hustled out of their 
homes and are making a desperate fight 
to regain their farms. Romance enters 
the story when the mysterious rider falls 
in love with the daughter of a wealthy 
man who has been an innocent tool of 
the rascally lawyer. 

For the family audience including 
young people. 

( I'amous Players — b reels) 

Ridin' Rowdy 

Directed by Richard Thorpe 

Featuring Buffalo Bill. Jr. 

Original screen story by Walter ./. Coburn 
TT has frequently been pointed out in 
^ these columns that the typical West- 
ern, despite its lasting popularity, has been 
getting a little stiff in its joints. The 
tendency has been to pep it up by chang- 
ing the scene and introducing new turnings 
by adding society cabaret scenes, cowboys 
trying to play golf or even bathing girls 
disporting themselves in swimming pools. 

Ridin' Roudy makes no such weak-kneed 
concessions to an effete desire for novelty. 
It is content to be human and humorous 
in a plot built along the old lines but with 
n.itural acting and a complete avoidance of 
old labels and stereotyped business. The 
result is one of the most refreshing West- 
erns that has been made in a long time. 
The plot shows the old conflict between 
cattle men and sheep herders (the heroine 
is a shepherdess) with a couple of mort- 
gage sharks thrown in. But we soon for- 
get the plot as the cowboys bubble over 
with real personality and disport them- 
selves with a humor that is rarely forced. 
']"he titles and the vigorous though never 
offensive cussing greatly add to the enter- 
tainnu-nt. A nimiber of scenes showing 
cattle and sheep herds grazing are beau- 
tifully photographed against majestic and 
serene landscapes. 

l"or the family audience including chil 

(Pathe— 5 reels) 


•^The Barefoot Boy 

Poem by John Greenleaf Whit tier 
A happy day of the carefree country 
boy. Done in color. 

For the family audience including chil- 

(Tiffanv— 1 reel) 

Everybody's Servant 
Showing uses of electricity. 
For the family audience including chil- 

(Fox— 1 reel) 

*Fisherman's Luck 
I'ishermen out in the dories for their 
day's catch. Done in color. 

For the family audience including chil- 

(Tiffany— 1 reel) 

From Caves to Sky Scrapers 

Interesting scenic showing the develop- 
ment of primitive architecture, from the 
earliest cave and tent dwellings to the im- 
posing stone monuments of Mesopotamia 
and Egypt. 

For the family audience including chil- 

(Pathe— 2 reels) 

The Good Samaritan 

Scenes staged near the Inn of the fiood 
Samaritan where robber bands still infest 
the wilderness of Judea. 

For the family audience including chil- 

(Pathe— I reel) 

*The Isle of June 
Scenes of the Bahama Islands. 
For the family audience including chil- 

(Tiffan\ — 1 reel) 

The Joys of Camping 
(Bruce Scenic) 
Camping in nature's wonderland with 
splendid bits of mountain scenery. 



National Board of Review Magazine 

l-'or the family audioiKf including chil- 

(Educational — 1 reel) 

■ Pathe Review No. 9 

Woolen Wonders, Australia'.-. fine 
Hocks; .North America's Oldest Capital. 
.Mexico City. Capital of .Mexico; With the 
Putnam Expedition to (jreenland. 

|-'or the family audience includiiii; chil- 

(Pathe— 1 reel) 

*Pathe Review No. 10 

The \'an^uards ot -Nitzht, Camera por- 
traits of clouds at twilijiht; Korea Today, 
Farm life in rural districts; Animal 
Cr.ickcrs in Wild Wild Hahies. 

For the family audience includinf; chil- 

(Pathe— 1 reel) 

*Pathe Review No. 11 
Speeding up show-making; Pursuing 
Polly, chasing Parrots; A (Jem of the 
East. Lao Kay a Chinese City; Clay Revel- 

For the family audience iiicludin'.; cliil 

(Pathe— 1 reel) 

*Pathe Review No. 12 
Teamwork in Art: American National 
Parks. Zion Park; Trapping Wild Game 
in Africa. 

For the family audience includin-.: chil- 

(Pathe- 1 reel) 

*Pathe Review No. 13 

A Song of Triumph in Stone; Pipe 
Organs, how they are made; With the 
Putnam Expedition to Greenland, Skirting 
the Northumberland Coast. 

For the family audience including chil- 

(Pathe— 1 reel) 

*Pathe Review No. 14 
Underground Sweets; V'illa V'istas, views 
of a French Riviera Estate; Animal 

For the family audience including chil- 

(Pathe— I reel) 

Portugal Today 
Scenic views of Portugal. 
For the family audience including young 

( Fox — I reel ) 

The Prodigal Son 

Picturization of the Hihle story of the 
young man who went away from home 
"and wasted his substance with riotous 

For the family audience including chil- 

(Pathe— I reel) 

*The Ranger 
A day in the life of a ranger. Done in 

For the family audience includin'.; chil- 

(Tiffan\ — 1 reel) 

The Rival Sex 

(Sportlight Series) 
Women .ire taking places beside men in 
all sports. 

For the family audience including chil- 

(Path. 1 reel) 

Wells of the Holy Land 
.Much of the life of Palestine centers 
around its wells and streams, several of 
which are pictured here. 

For the family audience including chil- 

(Pathe— 1 reel) 

The Wise Old Owl 

(Lyman H. Howe Hodge Podge) 
Many definitions of the word train. 
For the family audience including chi 

(Educational — 1 reel) 

With Will Rogers in Dublin 

With Will Rogers in Holland 

With Will Rogers in Paris 

Interesting travelogues brightened up by 
Will Rogers' typical humor. 

For the family audience includiniz chil- 

(Pathe — 1 reel each) 


Birthday Greetings 

Father's birthday gift> make for a 
hilarious time. 

l-"or the family audience including chil- 

(Fox — 2 reels) 

Sailor Beware 

h'entiirini/ llillx Dooley 

Comedy of a sailor who brings his lady 
love a guinea pig from New Guinea just 
uhcn a guinea inoculated with smallpox is 
supposed to have escaped. 

For the family audience including chil- 

( Educational— 2 reels) 

Smith's Pony 

Fealiirinii .l/«rv Ann Jackson 

\'ery good slapstick of the Smith family. 
For the family audience including chil- 

(Pathe — 2 reels) 

Ten Years Old 

Featuring Our Gang 

Fatty of "The Gang" has a birthday 
and bakes his own cake in wondrous 

I'or the f;uiiily audience including chil- 

(Pathe— 2 reels) 

Young Hollywood 

Featuring .. .Chililren of II ollyuootl stars 
A lot of young people turned loose in a 
studio make a very entertaining picture 
and have a good time doing it. 

I'or the family audience including chil- 

(Pathe— 2 reels) 

Youth and Beauty 

Featuring Andy Gump 

What Andy thought the fountain of 
youth had done to Min. Good comedy. 

For the family audience including chil- 

(Universal — 2 reels) 

Saint Patrick's Day 
Picture Suggestions 

\ /i^OriON Picture producers have not 
-'■*•'• neglected the Irish in their picture 
making — so here we have these pictures 
to suggest for vour .March 17th program: 

Barthelmess and Dorothy Gish — Melo- 
drama of an Irish girl in .New \'ork's 
east side. — 7 reels — First National Pic- 
tures, Inc., 38.? Madison Ave., .New Y'ork 

Charles .Murray, George Sidney, Vera 
Cjordon- — A hilarious picture of the 
quarrels between an Irish and a Jewish 
family. — 8 reels — Universal Pictures 
Corp., 730 Fifth Avenue, New York City. 

COME BACK TO ERIN— 3 reels- 
Pilgrim Photoplay Exchange, 1150 S. 
Michigan Ave., Chicago. 111. 

Edited Pictures System. 71 W. 23rd 
Street, New York City. 

STAIRS — 1 reel — Burton Holmes Labor- 
atories. 7510 X. Ashland St., Chicago, 111. 

IN OLD IRELAND— 1 reel— Burton 
Holmes Laboratories, 7510 N. Ashland 
Ave., Chicago, 111. 

1 reel — National Cash Register Co., Day- 
ton, Ohio. 

IRISH LUCK— Thomas Meighan. Lois 
VV'ilson — Adventures of a New York Irish 
cop in Ireland. — 7 reels — Famous Players- 
Laskv Corp.. 485 Fifth Avenue. New York 

LIFE OF ST. PATRICK— 3 reels- 
Pilgrim Photoplay Exchange. 1150 S. 
Michigan Ave., Chicago, III. 

Burton Holmes Laboratories. 7510 N. 
Ashland Ave.. Chicago, III. 

J. Farrell MacDonald — Diverting story 
of an Irish boy and girl and an old coun- 
try squire who lose their fortune in Ire- 
land but make it again in America. — 6 
reels — Fox Film Corp.. 850 Tenth Ave- 
nue. New '^'ork Citv. 

Pathe Exchange, Inc.. 35 W. 45th St.. 
New York Citv. 

SUBWAY" SADIE— Dorothy Mackaill. 
Jack Mulhall — The entertaining romance 
of a pert young shop-girl with an Irish 
subway guard \\ ho is a prince in disguise. — 
7 reels — First National Pictures. Inc.. 383 
.Madison Ave., New York Citv. 

— Tragic story of a girl who becomes a 
nun believing her soldier-lover dead. — 6 
reels — Pilgrim Photoplay Exchange. 1150 
S. Michigan .Ave., Chicago. III. 

March, Xiniltfii Tiii-iily-sevin 


The \ lot ion Picture as a 
Public Utility 

7'//c I'lihlic ami lli,- M'llinii I'iclitii- Iti- 
/liistry, liy irHliaiii Mnrslon Sitibury. 'I'lif 
MiuMiilui, Co.. .UO f>,i,/,s: ?2.50. 

MR. Si:.\IUR'> S work presents :i 
careful and tlioroiiiili survey ot 
the motion picture industry and 
IIS relations to the public. It is particularly 
clear in its description and analysis of the 
industrial and legal background of this 
protean industry in showinji how it is or- 
ganized and how it functions. He suc- 
ceeds in making this somewhat dry artii 
fact laden part of his subject interestin;.; 
and intelligible. 

When dealing with the future develop- 
ments and possibilities of motion pictures 
Mr. Seabury sees them big. He envisages 
them as perhaps the most powerful cul- 
tural social and political influence, both 
national and international, of the next few 
generations. His remedy is proportionally 
big and Mr. Seabury is frankly interested 
in setting motion pictures to rights, to pull 
them out of a state of dangerous chaos. 
The solution proposed is to recogni/.e mo- 
tion pictures as a public utility, to give 
them legal status as such and, as a conse- 
quence, to put them under federal and 
interstate control. This, of course, in- 
volves federal censorship though Mr. Sea 
bury advocates no stringent laws ad hoc 
aside from existing regulations as to in- 
terstate commerce. 

This brief, for the book amounts to that, 
has both the virtues and the defects of 
any legal solution of the question in hand. 
Mr. Seabury thinks highlv of the cultural 
potentialities of pictures but pooh-poohs 
any slow cultural process of bettering pic- 
tures by making public opinion effective. 
He ridicules censorship effectively but has 
no patience with the idea of selection. 
Needless to say, the Nationai. Boaro of 
Revikw cannot see eye to eye with him 
there. Mr. Seabury is a lawyer. Mr. 
Seabury insists upon a law. The law must 
have teeth in it. Why the big sharp teeth, 
asked Little Red Riding Hood. To eat 
up the bad pictures, says Mr. Federal 
Wolf. How long. Mr. Wolf, have you 
been a judge of pictures? — .A. H. K. 

/^^ENSORSHIP of motion pictures is 
^-^ purely a national matter, which can- 
n»t be controlled by any international body, 
it has been concluded by a special commit- 
tee of the International Motion Picture 
Congress in session in Paris in Septem- 

Educational Films 

Moti'iii I'iiliirti jfif liishiicli'iii. by A. 
I'. Hollii. Till- Ciiiliiiy Co.. 4.^0 paffis. 


'T'HOSF. interested in the use ot i-iluca- 
tional motion pictures will llnd much 
of value in this thorough reference vvork 
on the subject by .Mr. Hollis. The book's 
aim, "to meet the need of school people 
for information on where to get suitable 
films for class room work and how to 
use these films so as to produce real educa- 
tional results," have been accomplished iii 
a painstaking manner. It is perhaps worth 
any one's investigation just to find out 
what an "educational " film is, a term 
which has become greatly confused in its 
constant use as a dumping ground for all 
pictures outside the pure entertainment 

Recognizing the present decided limit in 
the output of films and their 
use ill the schools, the author looks ahead, 
devoting some space to the future of the 
educational film. Will future production 
be taken over by the large well financed 
companiesi or carried on through an en- 
dowment plan, whereby funds will be 
available to give the work the importance 
it deserves, is a question which is given 
consideration. Cities can by taxation take 
care of the expense of school motion pic- 
ture equipment thus insuring a large mar- 
ket for an increased production. 

A major part of the book is given over 
to Comprehensive Lists of F-ducational 
I'ilms with descriptive notes and the dis- 
tributors from whom available. This can 
be recommended as a ready source of in- 
formation when in search of a film on 
"Raising Ostriches in South Africa", "The 
Rambles of a Raindrop", "Baking Better 
Bread", "Seeing Washington, D. C". "Un- 
hooking the Hookworm ", what to do "Be- 
fore the Doctor Comes", or on any of a 
multiplicity of subjects of interest to those 
preparing specialized programs of motion 
pictures. — B. G. 


Why I Like the Movies 

HL.N primitive man sought self- 
expression he left his life story on 
the cliffs and in the rock-hewn caves, by 
means of pictures. 

Pictures have formed the foundation of 
languages of all races and down through 
the ages nations have thus recorded their 
thoughts, deeds, and customs. 

ALan's love for action ;ind desire to 
visuali/c his emotions produced the drama, 
but it remained for the cinema to briiv.; 
it within the reach of all. 

Born with an insatiable thirst for travel, 
the motion pictures bring before me those 
places of beauty and historical interest 
which I have longed to visit; the barren 
wastes of the frozen north: the languor- 
ous, exotic beauty of the tropics; the mys- 
tery and witchery of the Orient; storied 

ruins and inaccessible fastnesses. 

tjreat characters who have swayed the 
destinies of nations reappear before me 
and I live in ages past, experiencing their 
glorious triumphs and ignominious de- 

Artists of the silver screen interpret for 
me both the modern fiction and the great 
masterpieces. 1 re-live their lives and 
through the transference of personality I 
am taught the profound lessons of life. 

-Motion pictures reproduce accurately 
the great crises in the wurld's develop- 
ment and impress me with the sacrifice 
made for my civic and religious liberty. 
They inform me of the latest news, the 
freshest thought, the great industrial pro- 
jects and, through them, I keep in step in 
the march of the world's events. 

The inovies rest, refresh, and entertain 
me. The cares of the day are forgotten 
and the trials of to-morrow seem less in- 
evitable as I pity the fallen, admire the 
nohle, worship at beauty's shrine, weep 
with the unfortunate, and laugh at the 

They unlock the treasure house of Ro- 
mance and keep its sacred fire burning. 

The above essay was written by Mrs. 
Pearl H ins haw of If'indjall, Indiana, win- 
ner of the first prize — A trip for two 
around the world on the "Belgenland" — in 
ihi i/rrater Movie Season Contest. 

"When is a smoke-stack more than a 
smoke-stack?" is answered by the an- 
nouncement that the after stack of the 
S. S. .\Lalolo. the new steamer built in 
the United States, will contain a complete- 
ly built-in motion picture booth. The 
stack will also contain, for the storage 
of reels, a steel vault with a capacitv of 
100,000 feet of film. 

This unique arrangement will provide 
the vessel's passengers with an open-air 
motion picture theatre on the navigating 
bridge deck to be enjoyed during the balmy 
tropic nights on the San I'rancisco-Hono- 
lulu run, when the .Malolo is put in service 
next spring. The screen upon which the 
pictures will be thrown will be erected 
upon the mainmast, over 90 feet from the 
booth. It will be aluminum surfaced for 
sensitive reproduction. 

\ /f()\ ING pictures on trains would 
^^ ^ eliminate much of the tedium of tra- 
vel in the opinion of H. L. Mencken, edi- 
tor of the American Mercury, who re- 
cently completed a tour of the country. 

Some trains and many ships already 
have motion picture service. Pictures 
are shown in the club car of President 
Coolidge's train whenever he travels and 
the time will probably come when trains 
are operated as "moving moving pictures." 

(Crmtinurd from paqe 12) 
i|uestion of what motion pictures are all 
about. Start Lore will make it harder 
for bad pictures and easier for good ones 
to come. Truly a picture has come to 
troubl" the waters. 

(From an original screen story by Karl 
Broun. Produced and distributed by 
Paramount) . 


Sali'jnal Board of Riviiii- Mt.iazine 

Better Films Activities 

Editor. Ruth Rich 

Better Films Conference 

•'nPHE Motion Picture, Its Broadcii- 
•'■ ing Influence and Uses" was the 
topic ot the Third Annual Better Films 
Conference held in New ^'ork City. Janu- 
ary 27-29. under the auspices of the Bet- 
ter Films National Council of the Na- 
tional Board of Review. 

The conference hroujzht to);ether hct- 
ter films workers representing national, 
state and city organizations, community 
Better Films Committees, as well as indi- 
viduals working in affiliation with the Bet- 
ter Films National Council. 

On January 27th. the opening day of 
the conference, the delegates attended pre- 
views of unreleased pictures with the Re- 
view Committees of the National Board 
of Review, meeting in various projection 

Broadening Influence 

The opening session of the Conference 
was held that afternoon, when the "Broad- 
ening Influence of the Motion Picture" 
was discussed. 

Dr. Francis D. Tyson, professor of 
Economics, of the University of Pitts- 
burgh, spoke on the subject "The Eco- 
nomic and Social Influence of the Mo- 
tion Picture." 

Professor Harold F. Jones, of the De- 
partment of Psychologv, Columbia Uni- 
versity, spoke on "Psychological Factors 
in the Response to Motion Pictures". 

Miss Louise Connolly, educational ex- 
pert, Newark, New Jersey, Free Public 
Library and Museum, had as her subject 
"The Influence of the Motion Picture on 
the Family and on the Home." 

"The Influence of the Artistic Motion 
Picture" was ably handled by Mrs. Rob- 
ert J. Flaherty who accompanied Mr. 
Flaherty to the South Sea Islands when 
he filmed Moaiia and to Alaska for the 
filming of Saiiook of tin- \orlli. 

The group of reports by Better I'ilms 
workers given on the Thursday afternoon 
program included: 

Community Cooperation — Mrs. James 
A. Craig. State Chairman Better Films 
Committee. Florida, and President of the 
Jacksonville Better Films Committee. 

Special Programs for Special Occasions 
— Mrs. Piercy Chestney. President Better 
Films Committee. Macon, Georgia. 

Family Programs — Mrs. H. (j. (jrover. 
President. Better Films Committee. Ruth- 
erford, New Jersey. 

Special Children's Programs — Mrs. R. 
C. Heflebower. Chairman, Motion Picture 
Committee. Ohio Federation of Women's 
Clubs, Cincinnati. 

Thirty Years of Pictures 

Thursday night. January 27. "'Fhirty 
Years of Motion Pictures" — the screen's 

;iutobiograpli> . \v :'.^ presented !■■: i i- 
Conference delegates and members ot the 
National Board of Review and its friends. 

The showing of the picture was pre- 
ceded by an address on the "History of 
the .Motion Picture", which was given by 
.Mr. Terry Ramsaye. author of "A Mil- 
lion and One Nights" who sketched the 
early history and development of the mo- 
tion picture in an interesting and enter- 
taining manner. 

"Thirty Years of Motion Pictures " is 
a panoramic and encyclopedic film assem- 
blage, showing the progressive steps and 
outreaching influence in the growth of the 
.Motion Picture. 

This film is an ilhuninating historical 
assemblage which held the audience in rapt 
attention for three hours or more. (See 
page 3). 

Entertainment Medium 

l-riday morning. January 28, the topic 
was "The Motion Picture as an P^nter- 
tainment Medium" when representatives 
from the Industry spoke. 

The first address of the morning was 
given by Ex. Gov. Carl F. .Milliken, Sec- 
retary. .Motion Picture Producers and 
Distributors of America, Inc. 

"The Special Picture for the Special 
.Audience " was the topic of the address 
by Mr. Eric T. Clarke, general manager 
of the Eastman Theatre. Rochester. N. \'. 

Mr. Howard Dietz. director of Public- 
ity and Advertising. .Metro-Goldwyn- 
.Mayer Pictures Corporation, spoke on 
"Developments in Motion Picture Produc- 
tion, Exploitation and Distribution." 

Mr. Harry D. Westcott, director of 
Public Service and Education. Stanley 
Company of .America. Philadelphia, spoke 
on "The Community Theatre". 

.An address "The .Amateur Cinema 
Cameraman " was given by Col. Roy W. 
Winton. Managing Director, the .Amateur 
Cinema League. New ^'ork City. 

In Cultural, Educational and Religious 

The Friday afternoon session was de- 
voted to a consideration of the .Motion 
Picture in Cultural, Educational and Re- 
ligious Fields, with the following talks 
covering the subject from its various 
angles : 

Ihe Clubuoman and the Motion Pic- 
ture. Mrs. .Anna Steese Richardson, Di- 
rector, Good Citizenship Bureau, // o- 
itian's Home (companion. 

'Ihe Minister and the Motion Picture. 
Rev. Charles C. Webber, Pastor, The 
Church of All Nations, New York City. 

The Teacher and the Motion Pict\ire. 
Professor Leroy E. Bowman. Department 
of Social Science, Columbia University, 
and Secretary, National Community Cen- 
tre Association. 

liu Museum and Library and the .Mo- 
tion Picture. .Mr. Huger Elliott. Direc- 
tor of Education, .Metropolitan .Museum 
of Art. 

'Fhe .Motion Picture in \'isual Educa- 
tion. Dr. (j. Clyde Fisher, Curator of 
\'isual Instruction, American Museum of 
Natural History. 

Following this session, the delegates 
were given a demonstration of the De 
Forest Phonotilm. This talking motion 
picture proved fascinating to the delegate 
body, all being interested in this phase of 
the motion picture which is now belni de- 

Specialized Uses 

Saturday morning, January 29. the ses- 
sion was devoted to a consideration of the 
".Motion Picture for Specialized L >es. ' 

-Mrs. Elisabeth Sears, now connected 
with the Ainrrican .Mai/iiziiie, but for- 
merly Publicity Director of the .American 
Film Company, of Chicago, and editor of 
/•';/»/ Fun 1915-17 spoke on the Special- 
ized L ses. giving many examples. 

In a happy manner. Mrs. Sears pointed 
out groups which could use motion pic- 
tures in their organization programs — she 
outlined some of the programs which are 
being made available for such showing — 
she made timely comments on the applica- 
tion of several of the pictures shown and 
by discussion brought out many points of 
especial interest to the audience. 

In conclusion, Mrs. Sears summed up 
her subject by saying — "This country is 
organized everywhere, into Boy Scouts 
and (jirl Scouts and Campfire Girls, Ro- 
tary. Kiwanis, Chambers of Commerce, 
(Jeneral Federation of Women's Clubs. 
Business and Professional Women s Clubs, 
Mothers' Clubs, and I'raternal Societies. 
If ue can see to it that every organization 
in our community has at least one mo- 
tion picture program a year with intelli- 
gent cooperation between the organizers 
and the audience and the organizers and 
the distributor. I think after what you 
have seen what has been done and is going 
on steadily and quietly in every community, 
it will not be twenty-four months longer 
before you will have created an interest 
which the producers will be very glad to 
consult. " 

'Fhe following subjects were shown on 
this program: 

HEALTH— 7/;,' Mawic Fluid. I reel- 
Courtesy 'i'. .M. C. .A. Motion Picture 

AGRICULTURE— /r/„«/ or 11,, ds. 1 

reel — Courtesy of U. S. Departn.ent of 

CIVICS — A Citizen and His lioiirn- 

niint. 2 reels — Courtesy of Edited Pic- 
tures System. 
'IHRIFT— .^H Epic of Thrift. 1 reel— 

Courtesv of East .New '^'ork Savings 


March, Nineteen Twenty-seven 


HOME ECONOMICS— 5fr<'n Little 
Servants and What They Do. I reel — 
Courtesy of New ^'ork Edison Com- 
RELIGIOUS — CAr/V/ Confounds His 
Critics. 1 reel — Courtesy of The Re- 
ligious Motion Picture Foundation, Inc. 
S\VY.T\—l>lay Safe. 1 reel— Courtesy 

of Rothacker Industrial Films, Inc. 
ART — The Milting of a Bronze Statue. 
2 reels — Courtesy of Metropolitan Mu- 
seum of Art. 

Mr. G. Lynn Sumner, President of the 
G. Lynn Sumner .Advertising Company, 
and formerly with the International Cor- 
respondence School, gave an interesting 
address on "The Motion Picture in Indus- 
trial Education." He sketched the growth 
of the use of the motion picture in the in- 
dustrial fields, an excellent example or two 
of these films having been included in the 
assemblage of "Thirt>- Years of Motion 
Pictures" which had been presented dur- 
ing the Conference. 

In the absence of Prof. Leroy E. Bow- 
man, chairman of the Resolutions Com- 
mittee, the report of the committee was 
submitted by Mr. Joseph Marron, of 
Jacksonville, Florida. Other members 
of the committee included Mrs. Newton 
D. Chapman, Port Richmond, N. Y. ; Dr. 
Francis D. Tyson, Pittsburgh. Pa., and 
Mrs. Thomas A. McGoldrick, Brooklyn, 
N. Y. 

The conference adopted a resolution ex- 
pressing appreciation to all the companies 
and individuals who made possible the 
showing of "Thirty Years of Motion Pic- 

The following resolutions were adopted 
by the Conference: 


In Opposition to Legal Censorship of 

Motion Pictures 

Whereas, legal censorship of Motion 
Pictures is an unwise, reactionary meas- 
ure, incompatible with American institu- 
tions and with intelligent and progressive 
forces at work throughout the country to 
develop the best in motion pictures and 

Whereas, the First and Second Better 
Films Conference held in New York City 
in January, 1925, and in January, 1926, 
under the auspices of the Better Films Na- 
tional Council of the National Board of 
Review, adopted resolutions, for good and 
sufficient reasons set forth, in opposition to 
legal censorship of Motion Pictures, and 

Whereas, the work of the Better Films 
National Council of the National Board 
of Review is built around the philosophy 
of "Selection — not Censorship — the Solu- 
tion", therefore 
] Be it Resolved, that this Conference 
reaffirms its position in opposition to legal 
censorship of motion pictures, and endorses 
the effort being made to remove the cen- 
sorship law from the statute books of New 
York State ; and 

Be it Further Resolved, that this 
Conference further reaffirms its resolution 
of last year, and voices its opposition to 
the proposed Federal legislation as repre- 
sented by the Swoope and Upshaw bills in- 
troduced in the House of Representatives 
of the National Congress; and 

Be it Further Resolved, that the Sec- 
retary of this Conference be instructed to 
send a copy of this resolution to the Gov- 
ernor and members of the Legislature of 
New ^'ork State and to the members of 
the House of Representatives and Senate 
in the National Congress. 
In Favor of Broadening Community Sup- 
port of Motion Picture 

It hereas. the papers presented and the 
discussion resulting therefrom at the ses- 
sions of the Third .Annual Ketter Films 
Conference of the National Board of Re- 
view have clearly demonstrated that the 
influence of the motion picture, long a po- 
tent factor in the entertainment field, is 
entering with already unrealized poten- 
tialities into the field of education, social 
betterment, scientific research, religion and 
industry; and 

Whereas, the motion picture history of 
the motion picture entitled "Thirty Years 
of .Motion Pictures", presented at this 
Conference has afforded visual demonstra- 
tion of the technical and artistic develop- 
ment of the motion picture, which has 
taken place over a period of thirty years; 

Be it Resolved, that this Conference 
commend the efforts which are now being 
made by educational, social betterment, 
scientific, religious and industrial organi- 
zations; encourage the wider use of mo- 
tion pictures in these fields, and endorse 
the study use now being made of enter- 
tainment films, looking toward the fur- 
ther adoption and increased use of the mo- 
tion picture in visual education and in the 
dissemination of information about a wide 
variety of subjects. 

Previous conferences have dealt with the 
Motion Picture in its relation to the Com- 
niunitT,', and as an entertainment medium. 
^Vith this conference program, the em- 
phasis has been placed on the Broadening 
and far reaching influence of the Motion 
Picture, with especial attention to its spe- 
cialized uses. Only in recent years have 
organizations, scientists, educators, social 
groups, ministers of various denomina- 
tions, and directors of great industries rec- 
ognized the potential powers of the motion 
picture as applied to their respective fields. 
With this awakening to the possibilities of 
use of the motion picture in fields hereto- 
fore almost untouched, has come a re- 
newed interest in motion pictures, and the 
further use of motion pictures, outside of 
the realm of entertainment, will increase 
from vear to vear. 

T TNDER the auspices of the Better 
*— ' Films Committee of the Los Angeles 
District, California Federation of Wo- 
men's Clubs, Junior matinees are held in 
fourteen neighborhood theatres in Los 
Angeles, and in five towns nearby every 

One of the most interesting features of 
the work in this district is found in the 
time of the matinees, the special Junior 
program being the first performance on 
Saturday afternoon. 

This meets two criticisms of the morn- 
ing showing; first, that children frequently 

attend the Saturday morning performance 
in addition to other shows, thereby mak- 
ing an extra performance available; and 
second, it insures an interesting program 
at the time when the greatest number of 
young people arc logically gathered In the 

At the end of the Junior program, tiie 
lights are turned up, and an opportunity 
given to empty the theater before the con- 
tinuous performance begins. While it is 
impossible for the management to force 
all present to leave the theater, parents 
are urged to instruct their children to 
leave after their special program. 

The feature pictures are selected by 
members of the Better Films Committee 
in consultation with the Exhibitor. No 
trailers advertising future pictures arc 
run during this special performance. 
Vaudeville is never given during the 
Junior matinees. Special programs by 
local talent, arranged by the sponsoring 
group, arc added attractions. 

Mrs. B. K. Deal, Chairman of Pa- 
tronesses, has outlined the following duties 
for the patronesses: — 

Change of name "Chaperone" to 

Patroness: — One who supports, protects, 
or countenances — not a policeman. 

A Patroness' duty is: 

To arouse interest in the neighborhood, 
for the "Junior Matinee" — help support it. 

To protect children from outside influ- 

To take an interest in them. 

To countenance or show approval, give 
aid to the movement. 

To help the management by active sup- 
port of the matinee, not to carry criticism 
of the matinee — don't condemn until you 
understand why the management shows 
the film of which you may disapprove. 

Prove to the manager that when he has 
a remarkably good film for children, you 
will help to get the neighborhood to fill 
the house. 

Take criticisms of the Junior Matinee to 
the patroness chairman or junior matinee 

Help give publicity to newspapers, 
libraries, clubs among school teachers, 
especially when a good film is shown at 
a junior matinee. 

Remember that junior matinees are for 
entertainment purposes — just clean whole- 
some fun for boys and girls of school age. 
The films are as nearly appropriate as 
possible, considering that they are pro- 
duced with the adult audience in mind. 

A patroness should have a committee- 
of from two to four, and if she has the 
responsibility of a certain theatre, she is 
in duty bound to see that at least part of 
her committee are always there at junior 

A patroness should always be prompt, 
and Interested in her work. 

Ask for volunteers in your club, and 
get your club interested. It is a splendid 
child welfare movement, but cannot suc- 
ceed without cooperation. 




Compiled by 

The Better Films National Council 


The National Board of Review 

'T'HE 1926-1927 Annual Catalog of Selected Pictures con- 
■'■ tains 454 pictures selected as interesting, entertaining, and 
wholesome, and among the "Better Pictures" submitted to the 
National Board of Review for consideration during 1926. 

The pictures included are features and short subjects which 
are listed with their audience suitability, a valuable aid in discrim- 
inating theatre attendance and in program building for specialized 


Price, 25 cents 

The National Board of Review of Motion Pictures 

70 Fifth Avenue, New York City 




iCoiiibininy "Exceptional Photoplays," •i-'ilm Progress" mul '.Monthly Photoplay Guide ) 

Vol. II, No. 





The Camera's Eye 



Economic and Social 
Influences of 



The Motion Picture 
^ Stand By // 

Published montKly by tbe 


Board of Review of Motion 


ts a copy 

Established by The People's Institute in 1909 
70 Fifth Avenue, New York, N. Y. 

$2.00 a year 




^ Clontents 

Don't Ask Me Another! 


""P HE Saturday Eveninc Post recently 
••• published the follow inn ''>' Ocwcy M. 
Owens : 

"What is the first experience of the 

April 1927 

1 innocent country girl on her arrival ui 
the big city? Answer: A suave but de- 
signing young millionaire offers to place a 

' thirtv-rooni apartment and a fleet of cars 
1 ... i,'._ .1: .1 

Stand Bv 3 

"What docs she do? Answer: She 
spurns his advances, and he causes her to 
lose her job. 

The Camera's Eye 

Mrs. Robert J. Flaherty 4 

"Does the heroine starve? Answer: 
.\o. The noble-hearted young man from 

Economic and Social Influences af the Motion 

the country always finds her just in time. 
Kor the first time she sees him as her true 
love and they go contentedly back to the 


Francis D. Tyson 6 

cows and chickens. 

"What happens after a happy young 

Exceptio nal I'h otoplays 

couple have been married a few weeks? 
Answer: A wealthy admirer of the little 

Metropolis ! -9 

wife begins to tempt her aw:iy from the 

"What finally draws the estranged 
couple back together? Answer: A little 

White Gold 10 

Madame Wants No Children 11 


"How does the young husband learn he 
is to become a father? Answer: He finds 

Selected Pictures Guide 13-15 

his wife sewing on little garments. 

"How do college students spend their 


time? Answer: What time they are not 
at football games is passed in wild road- 
house orgies. 

"How does the hero of the college movie 
prove his sterling worth to his sweetheart? 
Answer: He wins the big football game 
of the season by a touchdown against tre- 
mendous odds just as all hope seems gone. 

Alias the Deacon No .Man's Law 
The Cat and the Canary Orchids and Ermine 
Evening Clothes Resurrection 
Fashions for Women Ritzy 
Long Pants Slide, Kelly. Slide 
The Love of Sunya The Telephone Girl 
.Moulders of .Men White Flannels 

"What happens when the sweet heroine 

inadvertently marries the wrong man? An- 
swer: He obligingly dies so that she can 

Non-Feature Subjects 

marry the noble hero in the last reel. 

"What happens just as the hero who has 
been unjustly condemned to death begins 
his march to the chair? Answer: His 
faithful sweetheart uncovers evidence of his 
innocence and gets a pardon for him. 

"When does the pardon arrive? An- 
swer: Just as the warden is about to jerk 
the lever. 

"Did a pardon ever arrive too late? 
Answer: Not in the movies." 

Bill and I Went Fishing Pathe Review No. 19 

Chills and Fevers Rock Ribbed .Maine 

The Frost Water Sprites 

Pathe Review No. 15 ,,^. , ,,^.,, „ . , 

Pathe Review No. 16 ^^ '^^ ^^''l ^o?"* '" ^on- 

Pathe Review No. 17 don 

Pathe Review No. 18 The Yellow Dog 

Short Comedies 


After seeing pictures daily we can't re- 
sist agreeing, and also adding that if our 
reviews fail to sound original don't blame 
us. blame the producers, who will in turn 
blame the public. Who are the public? 
■'i'ou and we. It is a truism that no art 
can rise above its public. But some part 
of the public can rise above current art 
some of the time. Right there is the thin 
entering wedge for the better picture. 

Felix the Cat in Barn Felix the Cat Sees 'Em 
Yarns in Season 
The Winning Five 

.Motion Pictures for Easter 16 


1 Better Films Activities; Conference Reports.. 18 

Copyrioht 1927, The Nntioua 

! Board of Review of Motion Pictures 


National Board of Review Magazine 

Di. William R. Town, Chairman 
Dr. Myron T. Scudder, J reasurct 


Edward A. Morcc 

Waller W. Pctlit 

Mrs. Miriam Sutro Price 

Dr. Myron T. Scuddci 

Dr. Albert T. Shicls 

Dr. William B. Town 

George J. ZchruiiE 

70 I'ifth Avenue, New York City 
PnblLshcd Monthly 



lixecutii e Secreta* 
Krtii RiLii 
Alfred B- Kuitkf.r 


Uettina ("lUNczy 


Volume II. Number 4 

April. 1027 

_'0c a cnpv. $2.00 a year 

Stand By 

THE recent ccnsorsliip epiiiemlc which startcil in 
New York about two months ago has sprcatl 
pretty well over the country. I'.verywhcrc 
there is a tightening up of standards, a new evocation 
ot stricter and sterner ways ot looking at public 
amusements hitherto accepted or at least tolerated 
without much apparent harm to general morals. 

But the movement is of even wider scope and 
longer duration. It embraces many luiropean coun- 
tries and in a way America lags behind in the gen- 
eral enthusiasm for legal suppression and regulation. 
Russia has long had the strictest censorship of art 
and in Italy Mussolini has thoroughly clamped il<)\\n 
the lid. Germany has fallen into line, going so far 
as to contemplate a law forbidding all under eighteen 
to attend the theatre and the movies. I-'ven France 
has grown uneasy and has felt that there should be 
some degree of censorship at least of those amuse- 
ments designed primarily for visiting Americans. 

Some of the censoring must appear luilicrous to 
everybody except perhaps to those from whom it is- 
sues. In Budapest it has actually been forbidden to 
ilisplay a photograph of the Venus de Milo and a 
film dealing with the life of Madame Du Barry has 
been suppressed because it presented a king in too 
frivolous a light. This is almost as gooil as Met- 
ternich's tampering with "King Lear" because he was 
offended witii Shakespeare for presenting a king as 
a beggar or as the movement in Germany over a 
generation ago to substitute "cousin" or "aunt" 
wherever tlie word "Love" occurred in a folk song. 
But ludicrous or not there is no doubt of the ex- 
istence of this widespreail wave of censorship. 

In the face of such a comlition of affaii^s what 
should be the attitude of an organization like the Na- 
tional Board of Review which reflects an i)i-gani/.ed 
opinion that has always been opposed to legali/.ed 
censorship? Should it take cognizance of tlie hat! 
weather by hiding under an umbrella or shouKl it 
weather the shower in the belief that its principles 
are not only essentially right but also rainproof? 

Perhaps the question can be answered best by con- 
sidering again just what it is that the National Board 

really is doing. I iic most enlightened j)r()posal toi" 
coping with the theatrical situation in New York 
City without ha\ing recourse to legal censorship has 
been to adopt a system of play juries to pass upon 
plays. We are happy to point out that this is ex- 
actly what the Board has been doing for years with 
regaril to pictures. l">xcept for one important differ- 
ence. Yhe play juries look only at those plays against 
whom there is a presumption of guilt. Our com- 
mittees look at all pictures without presumption of 
guilt against any one of them. They represent a con- 
tinuous function, an attempt to formulate a group 
opinion which will give to the entire nation conceived 
as a group but incapable of performing this act of 
advance inspection, the reliable assurance that motion 
pictures are conforming to an acceptable stantianl of 
decency and good taste. 

Now we submit, with all ilue respect for the spon- 
sors of the play jury system, that this is an advance 
upon both their procedure and their underlying prin- 
ciple. It removes the stigma of guilt and the pre- 
sumption of guilt before trial which is alien to our 
entire theory of jurisprudence. It converts this slight 
test of the world's greatest source of amusement into 
a socially directei.! function, organically in harmony 
with our democratic institutions, which at the same 
time respects the \ital need of an art and allows it to 
grow and develop as part of ourselves conceived as a 
cultural entity. 

It that is the case we can keep our umbrellas furleil 
and ignore the cyclone cellars. A function of this 
sort cannot be suddenly accelerateil at the behest of 
panic or reaction in fa\()r of more censorship, as one 
might adil more pepper to a stew. Our committees 
must continue to helicse that thcN- represent a group 
opinion reHecti\e of a largei" group anil imperceptibly 
registei-ijig the nuances ot that group's slowly chang- 
ing attitude as it advances or recetles, acting not at 
all like blusliing policemen solicitous ot more gauze 
for chorus girls and ne\er seeking to make moral 
magic through formulas and tabus. They must reso- 
lutely continue to censor nothing but censorship and 
to look at all other things wisely ami without heat. 

The Camera s Eye 


Mrs. Flaherty assisted her husband in the produc- 
tion of the films "Nanook of the North" and "Mo- 
ana". — Editor's Note. 

THE suggestion I have to make with regard to 
the motion picture is that great dramatic films 
in the future will be made without story, stage 
or star — will be made from life. The basis for this 
suggestion is a mechanical fact. Suppose, for in- 
stance, an actor were to simulate the peculiar gait 
of a sailor, and a real sailor were to walk down the 
street beside Iiim, tlie hu- 
man eye might not be 
able to distinguish be- 
tween them. Take a mo- 
tion picture of them, 
however, and there 
would be no doubt as to 
which was the acted and 
which was the real. The 
reason for this is that the 
camera's eye is penetrat- 
ing to a degree far great- 
er than the human eye. 
Its mechanical genius is 
its capacity for infinite 
detail. In the motion pic- 
ture camera this capacity 
for detail becomes infi- 
nite subtlety in the rend- 
ering of motion. Motion 
becomes infinitely reveal- 
ing — so much so that 
when it is the unconsci- 
ous, spontaneous motion 
of nature, we see, far 
beyond the capacity of 
our own eyes to see, to 
the pulse and rhythm of 

Ijip I hi' i'sc of Satnral 

Mr. Flaherty and I have experimented in this 
truth-telling of the camera with races of people. 
Tliink of the world as a mosaic of different peoples, 
each with its own way of life which it has built up 
through centuries into a definite, distinct pattern. 
] ach pattern is an ideal. To each people this ideal, 
its life, is dramatic. 

l'"xperiments were begun by Mr. Flaherty in BafKn 
Land, in a little one-roomed shack with the snow 
houses of the Eskimos poking up out of the snow 
wastes around it. 

The ideal man of the Eskimos is the great hunter. 

It is he who with his bravery and skill keeps liis race 
from starvation. The story of this people is the story 
of the hunter with his spear, his dogs, his sledge, his 
kayak, on tJie ice floes, in the mountains and valleys 
oi ice, winning his life-giving kill, through the drift 
ol snow and the lash of wind, winning his shelter, 
his house of snow, block by block. 

To take this man, the dog, the seal, the barren ice, 
the barren snow, the sunlessness and bitter wind, and 
pile these up in your consciousness, incident by inci- 
dent, scene by scene, starker and ever more stark — 

can you see how in this 
way might come out of 
it all for you a story 
overwhelming in its 

From this Northern 
life we went south to 
Samoa to make a picture 
there of the Samoans. In 
the North we knew the 
life of the people, knew 
it well. Mr. Flaherty had 
explored there for years. 
Fie knew the pulse and 
rhythm of that life and 
the camera was his will- 
ing tool. But here in 
Samoa we did not know 
the life of Samoans; we 
had it all to learn; and 
at first we didn't think of 
learning it. We thought 
we knew all about how to 
make our film. Just as in 
the North the Eskimos 
hunt animals, so here we 
would have the Samoans 
hunting creatures of the 
sea. We went all over 
everywhere hunting up tiger sharks and giant octopi 
that these gentle people might do battle with them. 
We worked hard for months, with utter discourage- 
ment. We got nothing for our pains. They were pic- 
tures we got, but there was nothing In them. Our cam- 
era had lost its cunning. It no longer gave us the feel- 
ing of looking into life. It balked, baffled us. It simply 
wouldn't work. We packed our cameras away and 
sat down to think. Hunting really had nothing to do 
with the life of these people. Their life is as 
different as possible from the life of the Eskimo. 
Their Ideal is an Invention. Thev have in- 

April. Nineteen Twenty-seven 

vented their great man, their chief, and then out of 
singing and dancing and feasting and the art of fine 
speech they have made elaborate ceremony and ritual, 
and it is this that is the drama of tiieir life, expressed 
in beautiful movements of the body. "Are the move- 
ments of these people really so beautiful?" We are 
asked. Yes. Because, for so many generations liave 
they been practising these beautiful movements that 
beauty has entered into even the commonest things 
they do; whether they sit or stand or walk or swim, 
there is that beauty of movement, rhythm, the philoso- 
phy, the story of their life. So that simply in the 
beautiful movement of a hand the whole story of the 
race may be revealed. Now we had the secret. Here 
was the matter for our philosophical camera's eye. 
We unpacked our cameras again." 

There is a fascination in making a picture of this 
kind. For this second sight, this truth-telling of the 
camera, is a will-o'-the-wisp. I saw pictures of ele- 
phants taken for the screen — elephants, elephants, 
nothing but elephants, six reels, an hour of elephants 
on the screen. They were beautifully photographed, 
wonderful pictures. Shot after shot passed and I 
was filled with admiration. But suddenly I gave a 
gasp. My heart missed a beat. The hair almost 
stood up on my head. Only for a flash — a second on 
the screen, and it was gone. But in that shot, in that 
second, had come to me the very breath of the jungle 
and its beasts — the terror, the alarm, the dread, the 
essence of that strange jungle life. Out of all these 
pictures, in this one shot alone was there that second 
sight, that penetrating to the heart of things, of the 

And what we liad to do in that Samoan picture was 
through all the scenes of the everyday life of the peo- 
ple to find and use this second sight of the camera to 
reveal that beauty of movement which is the lyric 
soul of the people, to reveal it until it would flood 
through and saturate the picture, like a perfume, 
never to be forgotten. 

Leave strange races and come nearer home to our 
own people. Suppose we wished to make the picture 
of a settler in Riiodesia with his ox-train trekking 
into the heart of the veldt and carving a home for 
himself amidst savage nature, black men and wild 
beasts — a theme like that of The Covered Wagon. 

We might draft out a story for this picture, with a 
hero, a villain and a girl, choose the actors for our 
characters, plan out each scene, arrange each set, 
choose our locations, and with our cameras and car- 
penters and electricians and megaphones and make- 
up boxes and wagons and painted savages, make the 
picture. Or, we might simply pack our cameias on 
our backs and go to Rhodesia, find there characters 
whom the drama of their life and their struggle have 
moulded in expression of face and body, who are 
feeling the thing they are doing, so that every move- 

ment they make tells the story; watch them doing and 
living and fighting their fight, with its tears and 
laughter, its comedies and tragedies, its quiet and its 
sudden alarm, its heat and its cold, its hunger and 
its fear; live there until the drought and flood, the 
tall grass, the ambush of the wild beasts, and the 
timidity or boldness, the love or fear of the black 
brother, are made plain; and over all this let the 
camera roam and win from it bit by bit the story 
that it can tell by that genius it has of second sight. 

There has recently been exhibited a Russian film 
that uses the camera in this way. An historical inci- 
dent has been re-enacted, and then, over these re- 
enacted scenes the camera has been brought to play as 
over actual life, and the result is that same conviction 
of reality. 

This Russian film and the two films we have made 
must be thought of as experiments. The principle is 
there. Its development will come. 

It is this development, independent of stage, or 
story, or star, depending on nothing but what is in 
the camera itself, that I suggest to you as a destiny 
of the screen. I suggest it as a great destmy, because 
pictures made from life, of the drama inherent in life, 
are documentary and philosophic. In them the edu- 
cational, the religious and the dramatic are blended 
into one. 

The future of the motion picture can be deter- 
mined only by the extent to which it serves mankind. 
This was the keynote of an address given by Sidney 
R. Kent, general manager of Famous Players-Lasky 
Corporation, at a luncheon of the Associated Motion 
Picture Advertisers in New York. Dollars and cents, 
said Mr. Kent, must not be the only consideration of 
the people in this industry. "However," he said, 
"we are in a fortunate position, for our business is 
one which is profitable and which at the same time 
serves humanity. And only to the extent to which 
it serves can it be profitable and progress beyond the 
limits which bound an ordinary commercial under- 

The following sentence was inadvertently omitted 
from the article, appearing in our March issue, "The 
Special Feature for the Special Audience" by Mr. 
Eric T. Clarke, General Manager of the Eastman 
Theatre, Rochester, N. Y. 

"Of course from the fact that Kilbourn Hall is 
part of the University, we are obliged to confine our- 
selves to feature films which are either educational 
in character or lend themselves to a type of musical 
accompaniment in keeping with the fundamental pur- 
pose for which our institution exists." 

National Board of Review Magazine 

Economic and Social Influences of the 

Motion Picture 


Dr. Tyson ivlw deHvered this address at the Third 
Annual Better Films Conference, held in January in 
New York City, under the auspices of the NATIONAL 
Board of Rkview, is Professor of Economics at the 
University of Pitisburcjh. — Editor's Note. 

THE Economic and Social Influences of tlie Mo- 
tion Picture is a broad subject, better fitted for 
treatment in a volume than in a short paper. 
I will try to discuss some general trends of influence. 
A truism of social science holds that our material 
progress has proceeded at a more rapid rate than our 
moral and intellectual development; man has a unique 
capacity for failing to recognize and utilize the social 
values of even his most important economic discov- 
eries. A feature of the recent past has been the new 
inventions that have crowded upon one another; we 
have been all too indifferent to their social sig- 
nificance in our complex life, and have often neglected 
to put them to their best use; the great need today 
is general recognition of the potential powers of our 
precious gift, the machine, and guidance of its service 
to mankind. 

So it is not to be wondered at that we are just 
beginning to glimpse the true import and realize the 
vast influence already being wielded by this new and 
distinctive medium of expression, the motion picture. 
At the very time we sense — inarticulately, for the 
large part — the grave dangers of its misuse in the 
spread of wrong propaganda and false standards of 
life, we must appreciate the more its amazing possi- 
bilities for increasing man's knowledge and altering 
his behavior. 

The recent survey of the Motion Picture in its 
Economic and Social Aspects in the Annals of the 
American Academy of Political and Social Science, 
shows impressively how the motion picture is already 
being used in the varied activities of many vocational 
and social groups. It is rapidly reaching beyond the 
general commercial function of providing entertain- 
ment in the theatre, to find an even more vital, if not 
so thrilling or widespread fieitl of operation, in indus- 
try and trade; in science, health and education; and 
increasingly in all civic and social w'ork. To illus- 
trate from two important fields, industry and health : 
Mr. Julius Klein, Director of the U. S. Bureau of 
Domestic and Foreign Commerce, in discussing 
"What tlie Motion Picture is doing for Industry" 
points out that tlic film is the latest form of silent 

salesman for all classes and kinds of goods, promot- 
ing knowledge among the buying public, the sales 
force and the workers, of the processes by which the 
goods are manufactured and distributed. "Accord- 
ing to a recent census made by the Motion Picture 
Section of the Department of Commerce", says Mr. 
Klein, "practically every industry is represented by at 
least one industrial picture, made cither by an indus- 
trial firm or under the auspices of one of the trade 
associations in that industry. Furthermore, exten- 
sive plans are under way for greatly increased activ- 
ity along this line." 

Already, in a semi-public way, the industrial film is 
coming into its own. Agricultural implement manu- 
facturers have for years produced films for the farm- 
ers showing the workings of new machines. The well 
known Story of Steel has been effectively distributed 
around the world and made a deep impression in 
Japan and China as well as at home. The Bureau 
of Mines of the Department of Commerce has in co- 
operation with firms and trade associations, made 
semi-educational films showing mining, and mine 
safety processes. The Department of Agriculture 
has a large number of pictures on farming, cattle 
raising, forestry and kindred subjects. These indus- 
trial and semi-educational films are largely available 
for community groups. Industry is cooperative and 
anxious to present such films to consumers. Their 
value, in describing the technique and organization of 
modern industry, to the people, is considerable. 

Another field in which the motion picture has been 
effectively used, and by non-commercial agencies, 
though of course in a much more limited way than tlie 
industrial film, is that of health education. At the 
end of the war, according to Mr. T. C. Edwards, 
of the National Health Council, "There were in cir- 
culation less than twenty-five health pictures of any 
value. Then distribution was limited to churches, 
schools. Young Men's Christian Association and in 
almost every case they were secured from some cen- 
tralized point. To-day, there are over three hundred 
different pictures which may be obtained from not one 
but many different places throughout the United 
States. A film on almost any health or sanitary sub- 
ject may usually be obtained directly from an agency 
within one's ow'n state. Many state Boards of 
Health, government departments, industrial organi- 
zations, and hfe insurance companies are now produc- 
ing and exhibiting health films to millions of people 

April, Nineteen Twenty-seven 

throughout the country." Tlie New York State 
Dept. of Health, for instance, has a list of up-state 
theatres which demand a regular weekly service from 
its large library of films. The department itself is 
also active as a producer, making several pictures 
each year. Many of the films of the United States 
Children's Bureau are being widely used here and 
abroad. The activities of the American Social Hy- 
giene Association have been noteworthy in the pro- 
duction and distribution of health and social hygiene 
films. Over thirty reels of pictures have been sold or 
rented to hundreds of organizations all over the 
world. In June, 1926. the National Heaitli Council 
appointed a special film committee to study the whole 
problem of the producing and distributing of health 
films. High tribute is paid by eminent doctors to tlie 
service of the film in scientific work and in medical 

The theory and program of educatifxi, again, looks 
to the rapid introduction of the film into the school 
system and despite the entrenched book trade and the 
expense of equipment, progress is likely. Mr. S. R. 
Kent of Famous Players-Lasky states that — "Ex- 
perimentation is under way with a view of determin- 
ing the practicability of the screen in teaching the di- 
versified studies of the elementary and collegiate 
schools. In the schools of ten cities this work is 
being carried on this fall and winter. Five pictures 
have been selected for the test." It is logical that the 
motion picture should be used in education — for dem- 
onstrations have attested to the fact that children 
and adults alike learn more easily through this 
method. A noted educator said recently: "Within 
the celluloid film lies the most powerful weapon of 
attack on ignorance the world has ever seen." 

There is one fact pretty self-evident about the so- 
cial aspect of motion pictures. The whole world can 
be put on a narrow strip of ribbon. The customs and 
manners; the economic, social and moral environ- 
ments of peoples can be made absolutely clear to one 
another. Such entertainment pictures as Nanook of 
the North and Moana are the best illustrations of 
this; but the news reel and the scenic are also effective. 
The surface, however, has only been scratched thus 
far. The international influence of the motion picture 
for good or ill will be tremendous. Here is at last 
the universal language, the new and comprehensible 
Esperanto that Utopians have been seeking. As an 
ancient Chinese proverb has it: "One picture is better 
than a thousand words." Certainly man has devised 
no other way by which so many ideas and impressions 
may be so rapidly and graphically presented to the 
human mind. 

Mr. Frank A. Tichenor of the Eastern Film Cor- 
poration in an article on "Motion Pictures as Trade 
Getters" tells convincingly how the movie has been 
successfully used for such diverse economic purposes 

as: to overcome a slump in the fur trade; to keep 
American dyes in the Chinese market; to "sell" the 
New York-New Jersey vehicular tunnel to the apa- 
thetic voters of New Jersey; and to save for a large 
city an efficient mayor whose private affairs were be- 
ing attacked. Soon any civic and social work move- 
ment, any drive or community fund effort, any state 
service or political campaign will be incomplete with- 
out its moving picture presentation. Even labor or- 
ganizations, and farmers associations are experiment- 
ing in the interpretation of their problems to the pub- 
lic through the film. 

The picture, mechanically perfecteii, is now ready 
to step beyond its former confines. Conscious group- 
ings of the people, economic and civis, and even gov- 
ernments themselves, have discovered in the screen 
a medium through which they may advan<:e their aims 
and ideals. A new illustration of this is the Amer- 
icanization work being attempted by the Bureau of 
Immigration of the Department of Labor. Plans are 
now being worked out for the showing of educational 
films on trans-Atlantic steamers so that the newcomer 
may know more of the customs and backgrounds of 
our country, even before reaching our shores. 

By virtue of these developments the motion picture 
will exert a growing influence on our many-sided so- 
ciety. Our whole diversified economic and civic life 
now has this instrument more and more abundantly 
at its command for both practical and experimental 
purposes. The present situation offers a challenge to 
the Better Films Movement, to consider in what ef- 
fective ways it may forward and cooperate with these 
diverse uses; to reduce waste and friction, and pre- 
vent distortion and false emphasis. The time has 
perhaps come for the Better Films National Council 
to establish functional committees on a nation-wide 
basis, on such phases as the industrial film, the 
liealth film, the motion picture in science, in the 
church, in public education; in civics; and in social 
work and social reform. Enthusiastic and compe- 
tent people are already busy in each special field. 
I hope that this question may receive serious dis- 
cussion. For instance, it might be helpful now If a 
committee of the National Board could cooperate In 
making the new Americanization films as constructive 
and realistic as possible. And the National Health 
Council, the National Association for Community 
Organization, the Federal Council of Churches, the 
National Education Association, the U. S. Chamber 
of Commerce, the American Federation of Labor, 
and the Farm Bureau Federation and other voluntary 
national bodies would no doubt welcome cooperation 
by those who have given time and thought to the pic- 

The general and basic issue of the economic and 
social influence of the motion picture has to do, never- 
theless, not with the special uses of the film, but with 


National Board of Revieu Magazine 

its role as a theatrical medium. Here most of tlie 
clouded discussion condemning the motion picture has 
been irrelevant because of failure to recognize that 
the motion picture institution is primarily an indus- 
try or business enterprise and not an art or educa- 
tional efFort. In this, of course, it is not different 
from the legitimate stage, which is also highly com- 

The industry lias grown in thirty years to vast pro- 
portions, and now has an investment estimateil at 
more than one billion and a half dollars; it has be- 
come the fourth or fifth business in the land; with vast 
real estate interests, banking connections and wield- 
ing increasing public influence. Its main and essential 
task is turning out pictures to reach as many as forty- 
four million persons in the nation in a year and this 
audience expends more than a half billion dollars on 
the films, or as much as ten million dollars a week. 

The intellectuals, including the art critics, espe- 
cially condemn the use of the new medium, which 
appeals to the masses in terms of the lowest common 
denominator of their interests; but a vast amusement 
industry in which so much has been invested must de- 
pend for its continuance upon millions of daily paid 
admissions. Of necessity. It seeks to give the people 
what they want and naturally the general level of 
intelligence of the audience governs the character of 
the appeal made. These millions of patrons, in the 
present stage of the development of intellectual taste, 
cannot be expected to desire the portrayal of life as it 
really is, or even to appreciate the whimsical or im- 
aginative talent of the artist, who selects and fashions 
episodes of meaning and beauty from life. 

The masses want unreality "the light that never 
was on land or sea". This childish mechanism of re- 
treat into a dream-life may be due, as Sherwood An- 
derson so persistently claims, to the drabness of our 
industrial cities, to the purposelessness of work. In 
any case, success in the industry now turns on the pres- 
entation of the sensational feature films. They deal 
in black's and white's, not in grey's as life does. That 
is why the motion picture is so unsatisfying to people 
discriminating. The psychologist will doubtless point 
out that such frequent escape from reality as the uni- 
versal movie fare now offers carries danger in its 
trail. The influence of the films in stimulating im- 
moral or criminal conduct has probably been grossly 
exaggerated. The effect is more apt to be a negative 
one; an excessive and too frequent stimulation of the 
imagination may result rather in a psychaesthenia, 
an inability to act, to make decisions, to face real- 
ity. The New York World in a recent cartoon 
showed a girl and boy entranced by a western melo- 
drama ; the boy turns to the girl to say: "I wonder 
what people did for excitement before the movies 

From the standpoint of the economic critic the 
screen distorts economic values by its emphasis on the 

"lucky chance", on the get-rich-quick delusion. This 
serves to intensify the present materialistic over- 
emphasis in American life. A sheer adulation of 
wealth seems to pervade the screen. There is too 
slight presentation of the values of hard work, and 
especially of technical competency of the kind por- 
trayed in the industrial film. Easy fortunes often in- 
lierited or married, open the way to a guaranteed 
happiness. Almost never do we see emphasis on 
self-discipline and education as the real bases of suc- 
cess. There is undue stress again on ostentatious- 
ness; fine houses, fine clothes, fine dinners, limousines 
and servants are presented frequently without refer- 
ence to the plot. Upper and leisure class existence, 
remote from the lives of the people, is constantly 
portrayed on the screen. When it is remembered 
that hardly two per cent, of American families have 
incomes of five thousand dollars a year, one wonders 
what the effect of a continuous portrayal of luxury 
on the screen for the masses must be on social stand- 

Economic experience is won through thrift and 
careful choices. The mechanic, farmer, clerk and 
salesgirl who go to the movies face problems very 
different from the artificial life of the screen. Do 
the movies help the salesgirl or the factory worker 
to become aware of their problems, to seek efficiency 
in self-improvement and understanding of trade? 
Do they not rather stimulate her to imitate her pam- 
pered sister of the screen whose good fortune is due 
only to a baby face and a way with men? Is the 
liousewife, who makes up so large a part of the movie 
audience, helped to orient herself and her children 
in a world that is growing more difficult and complex? 
Rather, impossible standards would seem to suggest 
fine clothes and furnishings and cars, rather than 
sound education, as a family ideal. This certainly 
acts as an incentive toward excessive family limita- 
tion and race suicide, which is so much today's tend- 
ency in American life. 

Social and economic competition in the past has 
been competition with neighbors, and fellow-workers, 
and such competition must develop again if we are 
to solve our many economic problems. Upper class 
standards, that are unadaptable to the conduct 
of the masses of the people, are bound to bring 
trouble; yet the movies represent an effort, uncon- 
scious thougli it is, to mould the lives of millions of 
people to an unworkable set of economic standards. 
The almost universal habit of living beyond ones 
means, which shows itself in the widespread custom 
of buying on credit, is already piling up a total 
new obligation of over five billion dollars a year. 
One cannot but wonder how much of this expenditure 
is due to money squandered on luxurious clothing, 
jewelry and automobiles, that might have gone into 
more enduring satisfactious in life. Mr. Terry Ram- 
(Contitiued on page 19) 

April, Nineteen Tiienly-seven 

Exceptional Photoplays 

Louise Hackney 
Harriet Menken 
Edward A. Moree 
Frances T. Patterson 
J. K. Paulding 
Walter W. Pettit 
M. R. Werner 

A department devoted to an impartial critique of the best in current photoplay SECRETAXY 

production. Each picture before being listed, is thoroughly discussed by a volunteer AND 

committee composed of trained critics of literature, the stage and the screen, ivho DEPARTMENT 

are the sponsors of this department. The printed revie^vs represent the combined EDITOR 

e.vpression of this committee's opinions. The reiiczi's aim to convey an accurate Alfred B, Kuttner 
idea of the films treated, mentioning both their c.rcellcncies and defects, in order to 
assist the spectator to vieii' the productions xvith increased interest, appreciation and 
discrimination. The reincivs further try to bring to the attention of the reader of 
special tastes or interests, or of severely limited time for recreation, those photo- 
plays which genuinely contribute to the art of the screen. 


Directed by Fritz Lang 

Photographed by ] ^.^"'^ J'''"'''.^ 

^ '^ ■ [Gunther Rtttau 

The Cast 

John Aiasterinan Alfred Abel 

Eric Masterman Gustav Froelich 

Roticang Rudolf Klein-Rogge 

Joseph Theodor Loos 

Mary Brigitte Helm 

METROPOLIS deals with a problem implicit in 
our whole modern civilization, the question 
whether our 
enormous advance in 
the Held of mechanics 
and science has not so 
far outstripped our 
emotional and ethical 
development that this 
side of our nature is 
being atrophied so that 
we are gradually be- 
coming spiritually im- 
poverished the more 
the progress in the con- 
veniences of civilization 
is accelerated. That 
alone would make it an 
interesting picture. 
When to these are 
added many extraordi- 
nary effects of the cam- 
era and an imaginative use of all the resources of 
the studio including more perfect miniature work 
and light effects than anything which we have been 
able to produce, we are justified in calling Metropolis 
an exceptional picture from many points of view. 

The entire action is projected several generations 
into the future, to a period in which the problem of 
the value of our civiHzation would presumably be even 
more accentuated. The metropolis of this civilization- 
to-be is a sort of glorified New York marvelously ex- 
panded both above the ground and beneath until it 

becomes a truly staggering thing, at once sublime and 
monstrous. The workers that make it all go, live in 
subterranean cities far below the street level while 
the captains of industry and the lords of science dwell 
in their roof gardens of delight far above the smoke 
stacks and pyramided skyscrapers. Elevators of 
enormous capacity and regular tramway aeroplane 
service yield a faultless traffic system. Somewhere in 
this vast conglomerate something is left of human 
nature, something upon which the machine has not yet 

Here the picture reminds strongly of the visionary 
writings of H. G. Wells and his school as well as of 
Carl Kapek's R. U. R., those socially pre-occupied 

authors who, frightened 
by the headaches of to- 
day or perhaps goaded 
on by them, have sought 
relief by picturing the 
headaches of the future. 
These effusions gener- 
ally have this in com- 
mon that while their 
scientific phantasies and 
their re-arrangements 
of the functioning of 
society possess consider- 
able credence, that same 
essential credibility is 
largely lost when the 
attempt is made to 
show a corresponding 
change in human nature 
or to fit human nature 
into this new scheme of things. We become critica) 
when the innovation there is too great as well as when 
we are asked to adapt our unchanged selves to en- 
tirely new conditions of environment. It would almost 
seem as if such phantasies raise a question which can- 
not be answered. 

Metropolis fulfills the first half of the task su- 
perbly. It depicts a mammoth city of the future, ex- 
pressive of a culture almost entirely dominated by the 
machine. The camera is far ahead of the written 
word, as a glance at Thea von Harbou's novelized 


version of the story will quickly show. AH the ex- 
ternal features are present to lend a magnificent set- 
ting in wliich the human siile of the story is to be set 

This human side tleals with the workers in revolt, 
with the son of the arch capitalist sympatlii/.ing with 
them through the gentle intermediary of a girl's love, 
and with the attempt to create an artificial liuman 
heing as the final triumph of the machine over the in- 
dividual. The workers, it seems, have been gathering 
in secret caverns not unlike the catacombs of the early 
Cliristians to listen to a new gosjiel of delivei-ance 
t rom the bondage of the machine. The girl who is 
preaching it is the same with whom the son of the 
capitalist is in love. The experimentor in artificial 
iiuman beings is looking for an appropriate individual 
fi'om whom to extract the last subtle essence which 
will animate his mechanical model. The capitalist 
conceives it as a master stroke to seize the girl ami 
use her for this purpose 
so that her image can be 
controlleci by him to 
preach obedience to the 
workers while the real 
girl is held in captivity. 

The experiment 
works. The inventor, 
rather theatrically con- 
ceived as a half de- 
mented magician, uses 
somewhat hocus pocus 
methods to transfer the 
vital spark from the liv- 
ing girl tt) the image. 
The process is not en- 
tirely convincing and 
could perhaps have 
been more effectively 
left to the imagination 
of the spectator. 

But the mechanical girl turns out to be a Franken- 
stein monster. She preaches revolt instead of obedi- 
ence to the workers and incites them to acts of violence 
which wreck the entire city and flood the workers' 
subterranean homes, apparently drowning all their 
children. When they burn her in a fit of revenge she 
collapses into a mass of iron junk thus revealing that 
she is not the flesh and blood girl. The real girl ap- 
pears after having escaped from the clutches of the 
insane inventor and a general amnesty is declared in 
which the Christian doctrine of brotherly love is in- 
voked to mediate between capital and labor. 

Thus the picture is seen to assume the general 
aspects of an allegory with often the title writer in 
the saddle rather than the camera man. Just what 
does the allegory say? We find brotherly love recom- 
mended. We are told that capital and labor must 
{Continued on page 12) 

\ational Board of Reviejv Magazine 

White Gold 

Dirciled hy ll'iU'uitn K. Ilouard 

Phiit'ii/rtiphed h\ I.ucioi Andriot 

The Cast 

D'lliircs (Larson Jitl<i duudril 

Aler C/irson Kenneth Thomson 

(jurson George Nichols 

Stim Randall George Bancroft 

Bucky O'Neil Robert Perry 

Homer Clyde Cook 

"i^TTl/lTK GOLD, because of its sincerity of 
\X/ treatment, the power of its plot, and the truth 
of its characters, takes rank with those few 
pictures tliat are natively American in sense and spirit. 
Tiie picture Is identifiable with what we know and feel 
about people and the problems ot their relationships. 
Against the background of the sheep country of the 

West we see authentic 
characters portraying 
the inner drama of 
their lives, answering 
the instincts they little 
comprehend, passionate, 
stupid, blind and una- 
ware of the tragic con- 
sequences of their acts. 
At all times the cam- 
era is focused on the 
essential elements of 
the story which, as in 
the case of most fine 
screen stories, is a sim- 
ple one, told swiftly 
with a fine sorting out 
of details susceptible of 
photographic ilelinea- 
tion. A young rancher, 
the son of a tough-bitten, malevolent sheep man now 
in the doddering days of his retirement, falls in love 
with a dance hall singer, marries her and brings her 
home. The rest of the story is that of the strife be- 
tween the jealous and hating father and the exotic 
daughter-in-law, trying to be an obedient wife, for the 
possession of the son. A bitter, profitless struggle it is, 
ending in the wife's defeat and yet at the same time 
the finding of herself — the symbolic "white gold." 
The vital event of the